Where did you grow up and what did you study? The firing temperature is about 1210 to 1230℃ in the electric kiln. 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 unique method that I employ involves the use of materials such as paper, fabric, cloth and string, in order to accomplish the desired textures. 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. I apply raw ingredients of glaze materials, such as minerals and metal oxides using a paint brush, like applying layers of paints. This may be similar to Japanese painting methods. I paint the piece to further develop the form, exploring and preserving the expressions and emotions that the initial wheel thrown piece radiated. I pursue the desired form by allowing the piece in my hands to display textural details, its thickness, volume and weight, and emerging figure.Īlmost all of my pieces are bisque fired once, and then painted and glazed. At this stage, I would work like a sculptor. 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. The next process involves sculpturing the piece into a desired form. To encounter an unplanned and unpredicted form is one of the fascinating features of ceramic art. 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.ĭuring this process, emergence of a new form can result from the sliced or cut parts from the original shape. The piece would then be cut, sliced or/and joined together with other parts. 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.Īfter 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. My creative process typically starts with either throwing a three-dimensional shape such as bowl or cylinder on wheel, or rolling out slabs. 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. I have used the same terracotta clay for over 13 years, as it has right viscosity and fine grainy texture. Many of my works are made with Shigaraki’s terracotta. How do you proceed? What are your preferences in terms of clay, firing, glazing, etc…?
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