2017-06-22

Black Forest @pragmata



2017年7月14日(金) – 23日(日) 
[個展] Black Forest
東京都中央区八丁堀2-3-3-3F
 tel. 03-3297-6011
 open: 12:00–19:00 (※最終日は18時まで)
在廊予定日 7/15(14日午後以降)



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わたしは今まで、この制作活動を約十数年ほど続けているのですが、なぜこのような作品を作っているのかと言うと、その動機は、ただ自分が心惹かれる事象を陶の立体物で思うままに表現しようとすることなのかと思います。
  今の時代を生きる多くの人にとってそうであるように、わたしも日々を過ごす中ではいろいろな思いを持つことはありますが、この表現は世の中へのメッセージや個人的な感情ではないところから生まれています。
 作品は自分の自己表現でもなく、歴史的な美術の流れやカテゴリーにもとらわれず、そしてまた陶芸の概念とも異なるところで存在している、自由で平和なアートピースです。なのでこの作品がどういうものなのかは、このモノに出会う人自身がそれぞれに感じて受け取ると良いと思っています。

 わたしの表現は、やきものの土とそれに関わる素材や自然現象の力を借りることでようやく具現化することができています。
 土の造形は、特別な道具や熱を介さずに、自分の意図を素手で直接かたち作ることができますが、そこでは意識や解釈を通さない無意識の手の反応が加わっているのではないかと思うのです。頭で思考する事のほかに手触りを通じて交わされるなにかが、この創作のある部分を担ってくれているように感じます。
 そしてこの触感の要素は、わたしの普段の生活の中でも創作のインスピレーションに繋がることが多々あり、自分でもそこに着眼する理由がなぜなのか説明し難いのですが、わたしは、かたちと触感が調和したモノの姿から情緒や実在感を感じ取ることがあって、そのものがそのものらしく表れた姿かたちや、手触りを呼び起こす表情に、自分の生の感覚を入り込ませて見ている世界があるのです。

 また土については、各段階でその素材の性質が変容することも大きな特徴です。特に焼成では自分の意図しなかったことや想定以上の出来事が多く起こり、作品はいつも手を施している時に見ていた姿とは全く異なる様相になって出来上がります。
 やきものの創造は絵画や彫刻のように自分の行為の痕跡を確かめながら進むことはできません。それでも、誠実に考えを尽くし丹念に工程を重ねることと、その最後は、自分の力が及ばないところで出来上がるというのが、わたしの表現手段の過程ではとても重要な部分で、そこから得られる経験はわたし自身に大きな影響を与えています。
 焼成を経て現れた未知の存在に対する時の衝撃と、またそうなった絶対的な出来事を受け入れることは、自分が自分だけではないそれ以上の大きな存在の中に在るような広々とした感覚、穏やかな慰めと安定した気持ちを呼び起こしてくれます。
 わたしはこのやきものの表現と関わることでようやく見えてくる世界や、気づかされる感覚があり、制作はそれらを求めてこれからも続いていくことと思っています。


2017.6 森田 春菜    


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2017-06-04

LUDION's Q&A


この秋に出版予定の”世界6都市で活躍する現代陶芸作家”についての本で
”Tokyo”作家のひとりとしてご紹介させていただくことになりました。
出版社はベルギーの、美術書を主に手がける LUDION社
どんな本に仕上がるのかたのしみです。

先方から制作についての質問をいくつかもらい
まず、日本語で記述したものを
オーストラリアに住む友人のKanakoが英訳してくれました。

彼女が細やかな配慮で選んでくれた語彙や
作業途中で訊かれる抽象的表現の意味合いの解釈確認、質問。
手間も時間もかけて 誠実に対応してくれる
その心配りには始終感心していたことでした。

せっかくなので、ここでご紹介。



- Tell me a little more about your work. How do you proceed? What are your preferences in terms of clay, firing, glazing, etc…?

Many of my works are made with Shigaraki’s terracotta. I also occasionally work with porcelain. I have used the same terracotta clay for over 13 years, as it has right viscosity and fine grainy texture. My hands have adjusted well to this terracotta over the years, which allows me to manipulate the clay naturally and almost intuitively, without particular awareness into creating a shape.
My creative process typically starts with either throwing a three-dimensional shape such as bowl or cylinder on wheel, or rolling out slabs.
I do not usually begin with a clear image of the piece that I am about to make, but only have a rough idea of the size in mind.
After meeting the random shape made on the wheel or by slabs, I gradually begin to develop a conscious image of the form I would like to achieve.
The piece would then be cut, sliced or/and joined together with other parts. I continue to explore the final form by manipulating the random shape into a more concrete one, as well as feeling and understanding the limit of the clays versatility.
During this process, emergence of a new form can result from the sliced or cut parts from the original shape. To encounter an unplanned and unpredicted form is one of the fascinating features of ceramic art.
The next process involves sculpturing the piece into a desired form. I do this by carving and scraping with a modeling tool or a saw tooth that is broken into a small workable piece for me to handle. At this stage, I would work like a sculptor.
I pursue the desired form by allowing the piece in my hands to display textural details, its thickness, volume and weight, and emerging figure.
Almost all of my pieces are bisque fired once, and then painted and glazed. I paint the piece to further develop the form, exploring and preserving the expressions and emotions that the initial wheel thrown piece radiated. This may be similar to Japanese painting methods.
I apply raw ingredients of glaze materials, such as minerals and metal oxides using a paint brush, like applying layers of paints. This is done with estimation of its colour and textural results as well as in anticipation of unexpected and incidental phenomena and effects that could emerge on the piece after firing.
The unique method that I employ involves the use of materials such as paper, fabric, cloth and string, in order to accomplish the desired textures.
I apply numerous layers of raw materials and repeat the firing process until the piece almost reaches a place where human touch seems to be long lost, and its presence becomes independent and organic. The firing temperature is about 1210 to 1230℃ in the electric kiln.



- Where did you grow up and what did you study?

I was born in Chiba and raised in Tokyo. I first started to study art, mainly drawings and paintings in high school.
I studied ceramics in the university undergraduate course which exposed me to the concept of three-dimensional, ceramic sculptural art expression, using clay as a medium. This led me to develop my style of ceramics as sculptural rather than as functional and practical, such as making everyday wares.



- You told me you work in a company on weekdays and dedicate yourself to ceramics in the evenings and on the weekends. Can you tell me a little bit more about that?

Upon my graduation from the university, I started to look for any available job that I could do, as I found it difficult to support myself as a full time ceramic artist. I was fortunate enough to be offered a job to make samples of leather bags in a leather product company.
I learned the skills of hand crafted bag making, and I worked there for about eight years. I moved to another Japanese leather product company about 5 years ago and am currently working as a sales person.
I have been utilising evenings and weekends for ceramics and studio exhibitions, whilst working in a company during weekdays.
For me, it is very important to explore the nature of ceramics and allowing the pieces to form themselves freely. My focus is not drawn to enable myself to work as an independent full time ceramic artist. This is why I have naturally established this life style between ceramics and daytime work as necessary.



-For you, what’s the best part of the process of ceramics? Why?


The reason that I am attracted to clay is that it makes it possible to demonstrate my natural sense in the objects that I make with my bare hands.
Many unexpected and even uncontrollable textural changes happen during the creative process, which I find fascinating.
The breadth of ceramic textural possibility and versatility maximises my creative process, embodying the view and awareness of the natural world I perceive.



- What’s the best thing about being based in Tokyo? And what’s the worst thing?

The best thing is that I have more exposures to people and places, to share and exchange art sense.
The worst things are that there is a lack experience and feel of nature, and that it is very costly to be based in Tokyo.



- Which ceramicists (of today of from the past) influence you? Where do you find inspiration?

The University granted me the privilege to meet Professor Kimpei Nakamura, who taught me expressional art using clay as medium. He was the biggest influence in pursuing my current style of sculptural ceramics.
I also had an abundance of opportunities to share the ideas of works and materials and to show experimental pieces with peers at university, which ultimately guided me to developing and establishing my own original methods.
I find inspiration from organic materials in the natural world and evidence of natural phenomena, as well as the physical experience and atmosphere that I encounter in nature.



- You dedicate yourself to a millenary craft. What does it mean to you to make 

each piece by hand in a world that is dominated by mass production? Is this a philosophy that appears in other aspects of your life?

My primary motive is to make sense of what I see, feel and understand in the natural world and express that in the form of ceramic objects. There is no intention of delivering a particular message to society through my work.
I am apprehensive about the matter regarding world’s economic prevalence in mass productions; however, my ceramic works are not meant to be compared and used to answer this matter.
My ceramics do not reflect my inner thoughts and feelings, and are not defined by traditional art theories or the concept of craft design. I believe that my ceramics are art pieces that are free, undisturbed and peaceful. I want people to be free to feel and interpret my works in their own way.
I feel my inner sense that are influenced by ethnicity as a Japanese is interesting, and I would like to explore it more in cooperation with my creative activity.



- What are your plans for the future?

I would like to continue to explore the natural world, and to express what I observe and experience from the natural world in a form through ceramics.


この機会に、見ず知らずの私を推してくれた陶芸作家の古荘美紀さん
また、私からの誘いを受けて一緒に掲載の協力をしてくれた土器作家の熊谷くん
急遽の撮影を快く引き受けてくれた、デザイナーの鎌田くん、高橋マナミさん
なによりも、日本語でも難解な私の記述と、熊谷くんの記述も
丁寧に英訳してくれた友人のKanako。
彼女の協力により、今、変化の多い私の様子を遠慮なく言うことができました。
そして、この機会の話題をいっしょに喜んでくれた、お世話になっている方々。
わたしはその輪の中にいるのをしみじみうれしく思いました。

みなさま心よりどうもありがとう。
良い本ができるといいです。



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