1/27/2024 0 Comments Pragmata ceramics![]() As is well known, glaze is usually used for the purpose of coating ceramic surfaces in the final stage of ceramics. The first inspirational idea is the foregrounding of the glaze. However, it is these “inspirational ideas” that are at the core of Yasunaga’s creativity, and which provide unique character to his yakimono. With glaze, earth, kiln, and a few inspirational ideas, the Jōmon could also do this. Yasunaga’s method, which does not require any special tools or techniques, is almost primitive. ![]() Since the yakimono has transformed into a hybrid of melted glaze and earth while within the kiln, Yasunaga gropes the finished figure, peeling off and polishing any excess earth adhering to the yakimono in an intuitive and careful manner. (3) After firing, make any modifications to the figure. In order to maintain the brittle and fragile figure as much as possible, its exterior is supported by a combination of earth when entering the kiln. (2) Fire at a high temperature of 1,200 degrees. Generally, a glaze contains about 60% water, but Yasunaga reduced this to about 25% so that the glaze could be twisted by hand. Yakimono is mostly done in three stages: “molding,” “firing,” and “carving.” (1) Mold the figure with a self-made glaze. For the time being, let us call this unknown thing yakimono (fired thing). Masaomi Yasunaga’s work is too unstable to be used as a “vessel,” but cannot be called an “objet d’art” because it arouses the viewer’s sense of touch. If you look at it closely, you can see that countless fragments clump together and somehow seemingly form a mouth. – Work by sand mold, and then”, Gallery uchiumi, Tokyo, JPĪt first, its deformed shape looks as if a part of the ground or a sandy beach were cut off and then rolled or rounded. – Yakimono Biyori”, TRI Gallery Ochanomizu, Tokyo, JP “The corpse”, National Tainan University of the Arts, Tainan, TaiwanĢ013 “Ceramics of Masaomi Yasunaga”, Utsuwa Kyoto Yamahon, Kyoto, JP “Hollow”, Pioa Piao Gallery, Taipei, Taiwan “Masaomi Yasunaga Exhibition: Production at Yaso and Daily Work”, wad, Osaka, JPĢ014 “Masaomi Ysunaga: Pottery Trilogy”, Gallery Yamahon, Mie Prefecture, JP “Masaomi Yasunaga: Ceramics”, Art Salon Yamagi, Osaka, JPĢ015 “Ceramics of Masaomi Yasunaga”, Utsuwa Kyoto Yamahon, Kyoto, JP “Masaomi Yasunaga Exhibition”, Gallery uchiumi, Tokyo, JPĢ016 “Ceramics of Masaomi Yasunaga”, Utsuwa Kyoto Yamahon, Kyoto, JP “Ceramics of Masaomi Yasunaga”, Utsuwa Kyoto Yamahon, Kyoto, JP “ 物空 Things Empty”, 一票票 Piao Piao Gallery, Taipei, TaiwanĢ018 “Memory of Orient”, Gallery Utsuwa Note, Kawagoe, Saitama, JPĢ017 “Masaomi Yasunaga Exhibition”, Garb Domingo, Okinawa, JP “Masaomi Yasunaga Exhibition”, Gallery Utsuwakan, Kyoto, JP Yasunaga masters creativity by combining unique raw materials such as feldspars, glass and metal powders, with his own methods such as creating glazed vessels with increased viscosity which are then pit fired in sand.Ģ000 Admission to the Osaka Sangyo University Department of Environmental DesignĢ003 Start a pottery to enter the Satoru Hoshino laboratoryĢ006 Receives Masters Degree in Environmental Design from Osaka Sangyo UniversityĢ010 Becomes a creative resident at The Shigaraki Ceramic Cultural ParkĢ013 Becomes a creative resident at ARCTICLAY 3rd SYMPOSIUM in Posio, FinlandĢ014 Becomes a creative resident at National Tainan University of the ArtsĢ019 “Masaomi Yasunaga Exhibition”, Nonaka-Hill gallery, LA, US While pottery is often made of clay and baked in a kiln, Yasunaga takes the form of pottery using glaze for his creations instead. ![]() ![]() While at University, Yasunaga established his creative direction at the laboratory of Satoru Hoshino, a coterie of the avant-garde ceramic group “Sodeisha”. Lives & works in Iga-shi, Mie Prefecture. Founded in Kyoto in 1948, in the aftermath of WWII, Sodeisha broke away from long-established conventions of Japanese ceramics, resolving to create non-functional sculptural works.Ĭontinuing with this ethos, Yasunaga developed idea of “ceramics” focusing on using his physical body as unlimited unconscious intelligence, , and explore an possibility of functional and fine arts.īorn in Osaka Prefecture in 1982. Yasunaga studied ceramics under Satoru Hoshino, a second-generation proponent of the avant-garde ceramic group, Sodeisha (in kanji, 走泥社 literally means, crawling through the mud). He presents the diversity of “ceramics” by removing the main material “clay”. Masaomi Yasunaga produces “ceramics” with glaze (glass).
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