argillaitalia2022

The International Ceramics Festival “Argillà Italia” held in Faenza, Italy, one of the leading ceramic cities in Europe, brings together ceramic artists of various types and people involved in the ceramic industry from all over the world to deepen mutual exchange through exhibitions and demonstrations. We have launched a project to exhibit the works of young ceramic artisans from Kyoto at “Argillà Italia 2022” to be held from September 2 to 4, 2022. Through participation in this event, we aim to provide an opportunity to produce world-class ceramic artists from Kyoto.

Opening Time: 10.00-22.00
Venue: Fondazione MIC Museo Internazionale delle Ceramiche in Faenza
Via Campidori n. 2 48018 Faenza (RA)

The International Ceramics Festival “Argillà Italia” held in Faenza, Italy, one of the leading ceramic cities in Europe, brings together ceramic artists of various types and people involved in the ceramic industry from all over the world to deepen mutual exchange through exhibitions and demonstrations. We have launched a project to exhibit the works of young ceramic artisans from Kyoto at “Argillà Italia 2022” to be held from September 2 to 4, 2022. Through participation in this event, we aim to provide an opportunity to produce world-class ceramic artists from Kyoto.

Opening Time: 10.00-22.00
Venue: Fondazione MIC Museo Internazionale delle Ceramiche in Faenza
Via Campidori n. 2 48018 Faenza (RA)

Yoshiaki DOBUCHI

Yoshiaki DOBUCHI

1980
Born in Kyoto, as the first son of Yoshihide Dobuchi, the 3rd head of TOUAN

2003
Graduated from the Department of Aesthetics and Art Theory of the Faculty of Literature, Doshisha University in Kyoto
Learned about ceramic, porcelain and glaze under his father, Yoshihide.

2010
Appointed as the 4th head of TOUAN

2018
Succeeded in reproducing the Youhen Tenmoku, the most precious tea bowl

2019
Started to show his works as an independent ceramic artist
Dedicated a Youhen Tenmoku tea bowl to Tofuku-ji Temple, the headquarters temple of the Rinzai sect of Buddhism, Tofuku-ji School
One of his Youhen Tenmoku tea bowls was stored by MIHO MUSEUM
Received the highest award, the METI Minister Prize, in the 41st Kyo-yaki & Kiyomizu-yaki Ceramic Exhibition
Opened his independent gallery

2020
His ceramic work was accepted by the 49th Japan Traditional Craft Exhibition, Kinki Division

Story

The ceramic art is simple. The process completed by combination of soil, glaze and firing is common throughout the world. It has been made in Japan since Jomon period (12,000years ago), and the length of the ceramic art history is world leading class.
After forming soil, I glaze to shine it most beautiful. So to speak, glazing is a makeup. (actually glazing is said in Japanese “KESHO” means ‘make up’) If the soil is different, the finish totally varies even I give the same glaze. The accumulation of the chemical analysis is abundant in Kyoto, and I glaze by an extremely logical process based on past enormous data. However, even if in that way I think logically “it should be like that” on the same materials, temperature, humidity, the same condition including the heating time, sometimes the result is not as my prediction or splendid thing than my prediction. I think that it is the most interesting point of the ceramic art that finished one will be better than my expect by this action, mischief of nature. The joy at that time is marvelous it is hard to renew elsewhere.



When I was 20-year-old, I wanted to be a master of way of the ceramic art. I was born in the house of the ceramic art to continue in Kyoto more than 100 years. So I learned technical things as molding and painting from the expert craftsman who was in the studio in those days, and glazing technique from my father thoroughly.
Kyoto does not produce materials for ceramic art while production center of ceramic art. The cultural demand of court nobles and Samurais, people of culture like tea ceremony were abundant because Kyoto was the capital and gathered various materials from the all over Japan to reply to the demands, and studies developed technique and glaze of other places. The family of the ceramic art that I was born has continued the approach that represented the time from generation to generation while applying the enormous knowledge, data Kyoto had. Therefore if it is a normal production center, a technique and expression technique to represent the typical type of the production center, but I have succeeded lots of various techniques of molding and the painting of various parts of Japan that piled it up from generation to generation such as knowledge, the data of enormous glazes. In addition, my father had given to me various perfect gems since my childhood. I appreciate for my father who gave the environment to be close that grows up while feeling a perfect gem representing the times.



I had many trips to the Art Gallery and Museum of each place if I had time on the weekend in those days when I had begun to learn ceramic art in earnest, and own sense of beauty was raised on seeing a past perfect gem more. I went to visit the Orient ceramics Museum of Osaka innumerably in that. I still remember clearly the impression when I looked at the “YUTEKI TENMOKU” (grease spot) tea bowl, national treasure. A tea bowl glaze is still special for me.
The glaze compounding of “YUTEKI TENMOKU” etc. burnt in Chinese Soong Era were very simple. Making same glaze is not so difficult now by the chemical analysis advances. However, it is extremely difficult to reproduce the baking. This is because it does an infinite change by the compounding of the glaze and the burning pattern. In the reproduction of the top-quality tea bowl ”YOHEN TENMOKU” that is still many mysterious to make, I made three exclusive kilns and I tested 4,000 ways by the compounding of the glaze, the combination of burning patterns and finally succeeded in reproduction. In addition to this reproduction of the past perfect gems, I run in parallel making new work using the new glaze which did not exist in past. I’m very pleased when I complete new glaze works which anyone has not looked, much more than when I’m able to reproduce the past perfect gem.



I think that it is a very important process to create unprecedented new things by studying and learning classics.
And the thing which had a big influence on my ceramic art production is a building. The old folk house where I came across when I visited Shikoku in a trip when 30 generations began. Huge wood was made and was built. Those wood did not become the straight line, and, using a plain form of nature produced in the land, I put them together, and it was beautiful molding, and I was shocked. Originally I loved the architecture, but interest turned to a building and Old materials, Old furniture, the secondhand article which finished drawing a good point of the material without interest leaving to a too artificial building since I met this old folk house.
And the way of the ceramic art of my own greatly changed, too. I drew the beauty that material originally had that is came to turn consciousness to drawing beauty of the soil in the ceramic art.
The soil and glaze are materials given from nature. I finish my ceramic work talking with this nature. The character of the soil totally varies according to production areas. When I touch it by hand and make a form, I finish the figure as the soil originally wants to become while feeling and talking. I talk with the soil then. I have touched various soils of various areas of Japan and become to feel differences of the characters that each soils have.



About Yohen Tenmoku

Yohen Tenmoku as created in the Southern Song dynasty which is also known as the space in the small bowl. White spots in the bowl make luster and show different colors in each angle. It also represents stars in the darkness. However, there are only three Bowls found as original Yohen Tenmoku and each of them is the national treasure of Japan. The way to appear spots was unknown until Dobuchi found his original technique. Before then, Thousands of researchers and potters tried to find their own way to create spots as same as the original. Dobuchi has tried over 3000 different ways by applying bot cutting-edge and classical techniques. And finally, he succeeded in reproducing Yohen Tenmoku two years after and won the highest prize and Minister of Economy Trade and Industry Award in 41th Kyoyaki, Kiyomizuyaki Exhibition.



Comment from Dobuchi

Initially, the perfection of Yohen Tenmoku was so low that only two bowls out of a hundred were successfully baked and rest of them were failed. Currently, the probability got improved from 2/100 to 2/80. I would like to aim higher completion of making Yogen Tenmoku and eventually make it closer to national treasure. Yohen Tenmoku show us different style of luster depending on time. It makes you feel like you are in the small planet when you hold Youhen Tenmoku, so I hope everyone reading this will come visit Yohen Tenmoku and my personal artwork as well.



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Shinji UMEMOTO

Profile

1980 Lives and works in Joyo City, Kyoto

2008 Graduated Completed Molding Course of Kyoto Ceramic College (Kyoto Prefectural College of Advanced Ceramic Technology)
2005 Graduated from Kyoto University, Faculty of Letters, Department of Philosophy, Department of Aesthetics and Art History
2007 Participated in DEBLI project Vol.1 at GALLELY LE DECO [Tokyo]
2007 Participated in December Show Vol.1 at APA Gallery [Aichi] (Japan)
2008 Shimotsuki Ceramics (Collaboration with Tomoko Nishio (Nanakusoan), Nanakusoan) At Keihanna Memorial Park [Kyoto].
2008 Participated in December Show Vol.2 at APA Gallery
2009 Graduated from Kyoto Prefectural College of Ceramic Technology, Molding Department
2009 Selected for Chozo Prize, Contemporary Ceramic Art Exhibition (Avant-garde category)
2011 Selected for the Ninth International Ceramics Exhibition Mino, International Ceramics Competition (Ceramics Division)
2011 Participated in December Show Vol.5 at APA Gallery
2012 Exhibited at Kyoto Art and Craft Biennale 2012



Message

“I would like to continue creating as long as I am alive. In my daily life, my sensitivity and senses change as my circumstances change. I would like to express what I consider to be “beauty” at the present time in ceramics without forcibly resisting such changes.
I extract elements of beauty from the world’s overflowing images, both natural and man-made, and outputting them in ceramic, without being oriented toward existing forms. Like in flowers and bones, because they have something in common: they both demonstrate “life” through their forms and remind us of “death” in their contexts.”




Works

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Yu KANAI

Profile

1984, based in Kyoto

2009 Graduated from Kyoto Seika University with a Master’s degree in Ceramics, Graduate School of Arts.
2008 Active as a member of “contactGonzo” (until 2013)
2017 “DIALOGUE” Hotel Canra Kyoto, Japan
2017 “SUPER SOREGASHI” ANAGRA, Tokyo
2018 “MONO JAPAN” Lloyd Hotel Amsterdam
2018 “DIALOGUE” Hotel Canra Kyoto
2018 “SOREGASHI” TOKYO CULTUART by BEAMS Tokyo
2018 Solo exhibition, “Unearthed Toys” VOU Kyoto
2019 “MAISON & OBJET” Nord Villepinte Exhibition Centre Paris
2019 “Fine Art Asia” Hong Kong Convention Center, Hong Kong
2020 Solo exhibition, “Spectrum” LEESAYA, Tokyo
2021 Solo exhibition, “Unearthed Toys” URBANRESEARCH KYOTO, Kyoto
2022 Solo exhibition, “SUB-SUB-TERRANEAN” Ginza Tsutaya, Tokyo
2020 “4” Ygion Kyoto
2020 “Shibuya Parco Ceramics Department Store” OIL by Bijutsu Techo, Tokyo



Message

“The act of firing clay has been practiced around the world since ancient times, so some people think that various expressions have already been used and that nothing new will ever emerge, but I believe that there are still many possibilities. I have been working on developing my own techniques in ceramics.
In the “BukuBuku” series the clay itself, not the glaze, is altered to create a unique texture before firing. Making and baking something using soil can be said to be an act of instant reproduction of the earth’s activity.
In my work patterns are not drawn on the surface of the clay like in the case of overglaze painting or underglaze painting, but rather are created in the image of excavating a stratum of the earth.
I would like to create something that no one has ever seen.”



Works

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Yuko HAYASHI

Profile

1981, working in Kyoto

2017 39th Kyoyaki & Kiyomizuyaki Exhibition, Chairman Prize of Kyoyaki & Kiyomizuyaki Traditional Craftsmen’s Association
2018 Selected for Kobe Art Marche 2018 Artist Support Project “Artist meets Art Fair 2018
2019 Participated in the Support Project for the Development of the Kyomono Art Market – Savoir-faire des Takumi Project
2019 Kyomono Youth Competition 2019
Winner of Grand Prix & LEXUS CRAFTED Prize
2020 Savoir-faire des Takumi Project Exhibition, Paris
2020 rooms40 (Tokyo) Recognized as Discover Japan Award
2020 Kyoto International Film Festival 2020 Trophy production
2020 Appeared in a video interview with a traditional craftsman for Kyoto City’s official hometown tax payment.
2020-21 Exhibition at LEXUS MEETS, Hibiya
2021 Kyoto International Film Festival 2021 Trophy production
2021 Certificate of Appreciation from Higashiyama-ku, Kyoto
2021 Commendation for Promotion of Future Kyoto City Planning from Kyoto City
2021 Recognized as “Master Craftsman of the Future” by Kyoto City Traditional Industries



Message

“As the fourth generation of KOSON KILN, which has a history of over 100 years in Kyoto, I would like to further open up a new world with our unique decorations.
Therefore I created a unique technique called “Tsuchibasami” (scissors). A technique with a high degree of precision, based on the use of scissors to decorate traditional porcelain. I create one-of-a-kind pieces that combine tradition and innovation.
I’m opening up a new world of Kyo-yaki and Kiyomizu-yaki porcelain.”



Works

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