Interview: Ryotaro Kato (Ceramic Artist)
VOICE VOL.7
Report on “The Future of Artisanal Beauty: Vessels, Wrappings, Decorations”
The Special Exhibition: Art Kogei, from Japan to the World “The Future of Artisanal Beauty: Vessels, Wrappings, Decorations” was held at TERRADA ART COMPLEX II BONDED GALLERY of Warehouse TERRADA, an art business based in Tennoz, Tokyo, through July 16, 2024. The exhibition showcased the works of ten artists who pursue free expressions of contemporary art using traditional craft techniques and materials.
Scene of the exhibition
“Mountain Hag”
Yoca Muta
Yoca Muta, who utilizes the overglaze painting technique of Kutani ware in her creations, exhibited four pieces, including the large pots “Mountain Hag” and “Mountain Woman.” The multidimensional process of forming and painting on ceramic — in other words, the intertwining of figurative, colorful, two-dimensional, three-dimensional, and spatial elements, and in particular the creation of works that can be “touched” — was of great significance to Yoca, who began in the realm of contemporary art where many creations do not focus on form.
In her exploration of iroe-jiki porcelain decorated with overglaze enamels, Yoca has focused on themes of admiration and fear towards nature. For this exhibition, she introduces human figures into her imagery for the first time with pieces “Mountain Hag” and “Mountain Woman,” drawing inspiration from Kunio Yanagita’s stories Life in the Mountains and The Legends of Tono. These designs reflect her respect for artists like Soga Shohaku and Ito Jakuchu, yet also incorporate Western elements like British style botanical art techniques, demonstrating a breathtaking artistic and technical prowess. Reflecting on her time studying in the UK and her consistent theme of nature, when asked about her thoughts on identity she says, “I have never been interested in fixing an identity — whether it’s being male or female, Western or Eastern. I want my works to be viewed impartially. They are both Eastern and Western. I hope people enjoy the affinity and the dissonance at the same time.”
Yoca Muta
Takuo Nakamura
Takuo Nakamura, born into a family-run pottery kiln that has existed for three generations in Kanazawa, showed three pieces at this exhibition: “Vessel not a Vessel,” “Box not a Box,” and the new work “Capturing Space: Decorative Field.” Having grown up in Kanazawa, a city where connoisseurs have historically been at the forefront of culture, together honing their crafts while creating new interpretations and contemporary relevance, Takuo creates his pieces with a deep consideration of the regional and historical context of crafts, where users have long viewed various objects as vessels and cherished them, working with a desire to once again make the user the protagonist of the piece.
The piece “Vessel not a Vessel” initially gives the impression of being an art object, but by tilting it sideways or flipping it over, it can function as a container. According to the artist, “Whether this is considered a vessel or not is a matter for the user, not the maker.” Although the Rinpa style is considered difficult to handle as a subject due to its prominence, he says, “For me, it is inevitable. It allows for depth while remaining flat, representing Japanese originality and the consciousness of its relation to space. When space is created, it connects with the user.” Takuo’s works, which explore the expansion of the relationship between vessels and space, are intriguing from both crafts and contemporary art perspectives. His unique interpretations and approaches indeed evoke the “iki” sophistication of Kanazawa and the cultural figures of the Momoyama period (1573-1603).
“Box not a Box”
Takuo Nakamura
According to Kentaro Takayama, the co-curator of this exhibition, craftsmanship traditionally focuses on techniques and materials, while contemporary art is based on concepts. However, recently there has been an increase in the number of craftsmen who emphasize concepts, defying genres and blurring the boundaries between “craft” and “art.” Indeed, many works in this exhibition are created around concepts, reflecting a very contemporary approach to thinking about art.
On the other hand, materials such as glass and lacquer, as well as decorative techniques like painting and carving, undeniably occupy a crucial position as elements that shape the beauty of crafts and are integral to the composition of the works, in essence, merging seamlessly with contemporary artistic qualities. Such integration is indicative of high-quality work, whereas a lack of robust concept or forced rationale in materials and techniques can quickly lead to mediocrity. In this sense, it is undeniable that this exhibition features many high-quality works that are expected to hold significant value in today’s art market. While it is unfortunate that not all can be introduced here, the exhibition achieved its goal of presenting the artisanal beauty of craft, suggesting new possibilities for its future.
Written by Kyoko Tsutsumi
* This exhibition will travel to Kenninji Temple in Kyoto from November 3 to 5, 2024. Exhibited works may vary between Tokyo and Kyoto. Please check the official website for further details.
General information
Special Exhibition: Art Kogei, from Japan to the World “The Future of Artisanal Beauty: Vessels, Wrappings, Decorations”
Website: https://artkogei.com/en/
Scene of the exhibition
Mayu Nakata
“Connection: Boat-shaped bundle-plaiting flower basket”
Tanabe Chikuunsai IV
“Unforgettable Gardens”
Rui Sasaki
