Ceramic artists list
> Ceramic artists list 100. Tim Rowan 99. Graciela Olio 98. Michal Fargo 97. Ryan Blackwell 96. Ellen Schön 95. Francesco Ardini 94. David Gallagher 93. Elizabeth Shriver 92. Jason Hackett 91. Patricia Sannit 90. Bente Skjøttgaard 89. Steve Belz 88. Ruth Power 87. Jenni Ward 86. Liliana Folta 85. Kira O'Brien 84. Annie Woodford 83. Kwok-Pong Bobby Tso 82. Bogdan Teodorescu 81. Kimberly Cook 80. Paula Bellacera 79. Debra Fleury 78. Cindy Billingsley 77. David Gilbaugh 76. Teresa & Helena Jané 75. Marianne McGrath 74. Suzanne Stumpf 73. Deborah Britt 72. Kathy Pallie 71. Els Wenselaers 70. Kjersti Lunde 69. Brian Kakas 68. Marie T. Hermann 67. Mark Goudy 66. Susan Meyer 65. Simcha Even-Chen 64. Barbara Fehrs 63. Shamai Gibsh 62. Natalia Dias 61. Bethany Krull 60. Amanda Simmons 59. Arthur Gonzalez 58. Chris Riccardo 57. Akiko Hirai W 56. Johannes Nagel 55. Rika Herbst 54. Liza Riddle 53. Chang Hyun Bang 52. Virginie Besengez 51. Jasmin Rowlandson 50. Chris Wight 49. Wim Borst 48. Rafael Peréz 47. Guðný Hafsteinsdóttir 46. Cathy Coëz 45. Merete Rasmussen 44. Carol Gouthro 43. JoAnn Axford 42. David Carlsson 41. Margrieta Jeltema 40. David Roberts 39. Patrick Colhoun 38. Abigail Simpson 37. Signe Schjøth 36. Katharine Morling 35. Dryden Wells 34. Antonella Cimatti 33. Cynthia Lahti 32. Carole Epp 31. Blaine Avery 30. Ian Shelly 29. Jim Kraft 28. Wesley Anderegg 27. Connie Norman 26. Arlene Shechet 25. Young Mi Kim 24. Jason Walker 23. Peter Meanley 22. Shane Porter 21. Jennifer McCurdy 20. Yoichiro Kamei 19. Debbie Quick 18. Ian F Thomas 17. John Shirley 16. Grayson Perry 15. Vivika & Otto Heino 14. Georges Jeanclos 13. Daniel Kavanagh 12. Nagae Shigekazu 11. Matthew Chambers 10. Tim Andrews 9. Claire Muckian 8. Adam Frew 7. Maciej Kasperski 6. Roxanne Jackson 5. Keith Schneider 4. Celeste Bouvier 3. Tim Scull 2. Kim Westad 1. Sara Paloma

artist

Takeda Asayo: Sculpturesque Purse, 2008, Cotton, leather. 23” x 13” x 4”, Photo: Kano, Zenji
/ Keiko Gallery - Japanese artists

  • Interview with Fujita Toshiaki - Japanese lacquer artist, Keiko Gallery

    Interview with Fujita Toshiaki - Japanese lacquer artist represented by Keiko Gallery, October 2011

    The special feature in partnership with Keiko Gallery includes interviews with 10 Japanese artists represented by Keiko, and many images with their works.

    → This interview is featured in Ceramics Now Magazine - Issue One, Winter 2011-2012.

    Ceramics Now Magazine
    : Not many people know that lacquer is used to make art pieces. Can you tell us more about this material and how do you use it?

    Fujita Toshiaki: The Urushi tree (Rhus Vernicifera) is a member of the sumac family of trees, found in various parts of Asia. The trees produce the sap which has been used as the coating and the adhesive material in Japan more than 9000 years. A poisonous substance when in liquid form (causing skin irritation), it becomes non-toxic on hardening and is waterproof and acid-proof. There are some examples that Native American use the sap of sumac, poison ivy or oak with the same purposes.

    Fujita Toshiaki Japanese Lacquer art - Ceramics NowThe season for harvesting sap is from June to October, and an Urushi tree must be between 8 to 13 years old before it is mature enough to produce only one cup of sap. The sap, an opaque light brown color, oozes from the slashes on the trunk, and it’s carefully scraped with a special tool; after this procces the sap is called Arami-Urushi. The Sap is stirred and carefully heated to equalize its components and remove excess fluid. Those Urushi is called Sugurome-Urushi or Kijiro-Urushi and used as the coating material for the upper layers.

    The drying system of Urushi is very different from other painting materials. Drying Urushi means to be harden. The laccase enzyme reacts in Urusiol which is hardening constituent and initiates a chemical reaction: oxidation polymerization. To increase the activity of the chemical reaction, the ideal temperature is 77F and the moisture set to 80%. That means if the air is too dry, the lacquer never gets dry.

    I focused on this characteristic drying system on Urushi and pursued to create the sculptures called layered forms. I daringly remove other elements in Urushi crafts, because they might interrupt my essential concept for my layered form series. However to understand what is lacquer or lacquer art, I should not deal with only unusual dying systems of Urushi, but also should focus on the traditional techniques, because sometimes we can find the answer in the techniques which were sophisticated and established by our forefathers. For the reason, I worked hard to acquire techniques like woodwork, dry-lacquer, colorings, coatings and decorations.

    Read More

  • Interview with Jorie Johnson - Textile artist, Keiko Gallery

    Interview with Jorie Johnson (Joi Rae) - Textile artist represented by Keiko Gallery, October 2011

    The special feature in partnership with Keiko Gallery includes interviews with 10 Japanese artists represented by Keiko, and many images with their works.

    → This interview is featured in Ceramics Now Magazine - Issue One, Winter 2011-2012.

    Ceramics Now Magazine
    : From functional, to decorative or aesthetical, your works also vary in techniques and materials. Tell us about your woolen felt creations.

    Jorie Johnson: I am drawn to the painterly and sculptural characteristics of feltmaking with its broad capabilities as a “hard textile” but which also lends itself to soft, sensual body wraps.  I like the challenge of completing a work that functions in a practical way as well as becoming an object of aesthetic value. Unlike weaving, each felt piece is disconnected from the next,  so in that way, a seamless, three-dimensional vessel, hat or bag may remind us more of a ceramic form than a textile.

    The essential material of wool comes from sheep which grow new fleeces each year and which have served mankind in very isolated regions of the world. I love the natural color of wool, as well as, the possibility to blend it with other fibers, to dye the wool or to over dye a completed piece and manipulate its’ shape through this procedure. Now with years of practice I can approach a work from different angles, theorizing which method works best for an expected results, but while shaping and finishing I am on the alert to pick up on a characteristic born through the process that I never figured on. This spontaneity keeps things very interesting.

    Jorie Johnson Textile works - Joi Rae on Ceramics Now Magazine

    Jorie Johnson Spring Collection 2011 (beret, vest, skirt, neck wraps), wool, novelty yarn, silk fabric, linen lace fabric, silk cord. Photo by Toyoda Yuzo - View her works

    You are using many layering techniques. Can you explain the process of making a new piece? How long does it take?

    The matrix of the work is hard to see by the naked eye but while the selected wool fibers start their migration progress they entangle and actually pierce and consume auxiliary materials such as Japanese Washi, silk organza, cotton gauze, skeletal leaves, lace and so on, into the surface of the fabric and become an integral part of the finished fabric we call as FELT. Under optimal conditions (increase in humidity, higher temperatures, change in pH, application of agitation, etc.) and using a selection of different sheep breeds a variety of fabrics result from dense, coarse carpet weight to silky merino blends for sensual neck wraps.

    In order to achieve fine fabrics I use many thin layers of carded wool but for the loftier carpets I use coarser wool in thicker layers. Once the design and materials are selected and the shrink factor determined I work as swiftly as possible to complete a piece within a few days as not to cause the wet wool and auxiliary materials to begin to break down.  I have to commit to a “work swipe” as I call it, not to damage the wool, silk or other materials by keeping them wet for too long.

    Read More

  • Interview with Tanoue Shinya - Japanese ceramic artist, Keiko Gallery

    Interview with Tanoue Shinya - Japanese ceramic artist represented by Keiko Gallery, October 2011

    The special feature in partnership with Keiko Gallery includes interviews with 10 Japanese artists represented by Keiko, and many images with their works.

    → The interviews will be published in the first printed issue of Ceramics Now Magazine. Pre-order Issue nr. 1 - Winter 2011-2012 or subscribe for one year.

    Ceramics Now Magazine : What was the starting point in your investigation with ceramics? Do you remember your early works?

    Tanoue Shinya: When I was a student of Theology at the Doshisha University, I also belonged to the ceramic club. I was just absorbed to make something with clay in the club’s room. I worked for some textile company for two years after the graduation, and I entered Kyoto Saga Art College because I wanted to learn more throwing techniques. I remember the pieces I made in the college very well. The pieces I’ve made in my freshman year are the origins of my current series.

    Tanoue Shinya Japanese Ceramics - Contemporary Ceramics Magazine

    KARA-10: Fu- a, 2010, Glazed clay, 7” x 26” x 4 1/2” (h) - View his works

    Your works may be simple, but the details, the lines and curves of your works are very sinuous. Tell us about how do you construct your pieces.

    After creating the vessel or sculpture’s shape with coil techniques, the slip is applied on the surface. And then I groove the surface with needles one by one and at the end I rub iron into those grooves.

    The important theme of my pieces is the shell - egg shells, shells of fruits or seashells, because they are deeply related to the normal circles of life. The cobalt blue in the pieces represent the ocean, which is the origin of life on Earth.  The wombs are consideres to be the shell of human beings, so if I could express in my pieces the memories of leaving the wombs (leaving forever the protective and comfortable feeling), it would be wonderful.

    Read More

  • Interview with Murata Yoshihiko - Japanese lacquer artist, Keiko Gallery

    Interview with Murata Yoshihiko - Japanese lacquer artist represented by Keiko Gallery, October 2011

    The special feature in partnership with Keiko Gallery includes interviews with 10 Japanese artists represented by Keiko, and many images with their works.

    → The interviews will be published in the first printed issue of Ceramics Now Magazine. Pre-order Issue nr. 1 - Winter 2011-2012 or subscribe for one year.

    Ceramics Now Magazine : You are a very young and talented artist. What was your first experience with art and with lacquer?

    Murata Yoshihiko: I wasn’t exposed to the arts that much and didn’t know about Japanese lacquer work very well until I entered the art collage. I was interested in design and woodwork working and wanted to make the furniture for our daily life when I was a teenager. When I was a sophomore student, I choose the Urushi department for my major, but it was something uncomfortable for me. At first, I made many chaotic pieces, however those pieces are supposed to be an origin of my work today.

    Murata Yoshihiko Japanese Lacquer art on Ceramics Now Magazine

    Silhouette-02, 2010, Maple wood, lacquer, 8” x 2 3/4” x 1 1/2” - View his works

    Your works have an extraordinary sense of space and light, their shadows contrasting with the colors and the surroundings. How do you make these fantastic lines of dark? It has to do with the slim silhouettes of your works.

    I simulate the three dimensional shapes in my mind, for example, how lines will be flowing or how they are placed on the pedestals or attached on the walls. I believe that only lines which look beautiful from any angles can make the lithe and sharp silhouette.

    Read More

  • Interview with Niisato Akio - Japanese ceramic artist, Keiko Gallery

    Interview with Niisato Akio - Japanese ceramic artist represented by Keiko Gallery, October 2011

    The special feature in partnership with Keiko Gallery includes interviews with 10 Japanese artists represented by Keiko, and many images with their works.

    → The interviews will be published in the first printed issue of Ceramics Now Magazine. Pre-order Issue nr. 1 - Winter 2011-2012 or subscribe for one year.

    Ceramics Now Magazine : You are about to start working as artist in residence at the Harvard Ceramic Studio. What do you hope you’ll learn from this experience?

    Niisato Akio: I am very interested in the different perspectives on craft art, especially Ceramics between US and Japan. I feel that the vessels are more appreciated in Japan rather than US, as well as the ceramic art itself. I would like to know why and I will research on these issues during my stay at Harvard. I am looking forward to seeing new people who will give me a lots of inspiration.

    Niisato Akio Japanese Ceramics

    Luminous Vessel, 2008, Glazed porcelain, 5” x 5” x 10” - View his works

    Ceramics Now Magazine: The lightness and pureness of your works makes them unique. Tell us more about how do you make them.

    Niisato Akio: White is a simple color, but it can express the subtle nuance between sensibility/ pureness and lights/ shadows.

    After I throw the pieces, they are razed as thin as possible, and then I drill the holes with an electric drill, one by one.

    After the firing, I sand the surfaces and the glaze is applied manually into the holes. Another glaze is applied all over the surfaces with a compressor and then the pieces go into the kiln at 2246(F). It is not so easy to make the smooth surface with a single firing, because the holes absorb the glaze very easily, so they need to be fired two or three times to get a nice result.

    Niisato Akio Japanese Ceramics - Ceramics Now Magazine

    Luminous Form, 2008, Glazed porcelain, 12” x 8 1/2” - View his works

    Read More

  • Interview with Hayashi Shigeki - Japanese ceramic artist, Keiko Gallery

    Interview with Hayashi Shigeki - Japanese ceramic artist represented by Keiko Gallery, October 2011

    The special feature in partnership with Keiko Gallery includes interviews with 10 Japanese artists represented by Keiko, and many images with their works.

    → The interviews will be published in the first printed issue of Ceramics Now Magazine. Pre-order Issue nr. 1 - Winter 2011-2012 or subscribe for one year.

    Ceramics Now Magazine : Constructing your figurative pieces with such delicacy takes a lot of time. Can you tell us more about the process? What materials do you use?

    Hayashi Shigeki Japanese Ceramics - Ceramics Now MagazineHayashi Shigeki: I make the prototypes with regular clay and make plaster casts for them. Then I pour the plaster, modify those plaster masters very carefully and create second plaster casts. Then I pour the slip into them and throw the remaining slip away. After taking the pieces out from the cast, I work on some final details and then put them into the kiln for the biscuit firing. I sand the biscuit surfaces and then second fire them at 2246 degrees (F). Additional decorations with gold or silver are added and then fired again at 1472(F). All the parts are assembled with epoxide-based adhesive and bolts. The latest work consists in forty parts. I am using thirty four different kinds of casts which are from two to seven split molds. Since I don’t have any assistancy, all the processes are done by myself. For my latest work, it took me nine months to make the casting process and one month for the firing and assembling process.

    Hayashi Shigeki Japanese Ceramics

    00, 2011 (white bike), Glazed porcelain, 32” wide - View his works

    Your works look like tiny sophisticated robots. What do they represent? What message are you trying to send to the viewers?

    They are characters in my imaginary science fiction world. Each audience may receive different kind of messages from my work. Someone will think positive about the future, bot others will feel my warning messages.

    Read More

  • Interview with Takeuchi Kouzo - Japanese ceramic artist, Keiko Gallery

    Interview with Takeuchi Kouzo - Japanese ceramic artist represented by Keiko Gallery, October 2011

    The special feature in partnership with Keiko Gallery includes interviews with 10 Japanese artists represented by Keiko, and many images with their works.

    → The interviews will be published in the first printed issue of Ceramics Now Magazine. Pre-order Issue nr. 1 - Winter 2011-2012 or subscribe for one year.

    Ceramics Now Magazine : In your career as a ceramic artist, you took the challenge of using white porcelain in constructing complex geometrical systems. Tell us more about the motifs of your work.

    I want to make people feel the passage of time over my pieces. When people see the remains of a culture or decayed buildings, they evoke special emotions. I want to express not only the ruins themselves, but also the atmosphere surrounding them and their strong presence. In other words, I want the audience to feel exactly how I felt when I looked at the destroyed buildings and ruins.

    Takeuchi Kouzo Contemporary Japanese Ceramics

    Modern Remains D II, 2006, Glazed porcelain, 21” x 22” x 9” - View his works

    In what techniques do you usually work and what materials do you use?

    The pieces are made out of porcelain clay. I make many hollow square tubes with slip casting and compose them before they get dry. After the biscuit firing, I apply the glaze and put them into the kiln at 2264 (F). I use the electric kiln for my white pieces.


    Time is something you’ve embraced when constructing (or deconstructing) your works. What’s your works’ relation with time?

    The geometric dense squares represent man-made buildings and I considered that the pieces might be able to embrace time if I break them, because the decayed geometric construction might evoke us about our far future. Since the color of white shows the lights and shadows clearly and dramatically, it maximizes the pathos and emotion of the modern ruins.

    Read More

  • Interview with Takeda Asayo - Japanese textile artist, Keiko Gallery

    Interview with Takeda Asayo - Japanese textile artist represented by Keiko Gallery, October 2011

    The special feature in partnership with Keiko Gallery includes interviews with 10 Japanese artists represented by Keiko, and many images with their works.

    → The interviews will be published in the first printed issue of Ceramics Now Magazine. Pre-order Issue nr. 1 - Winter 2011-2012 or subscribe for one year.

    Ceramics Now Magazine : You are one of the most appreciated textile artists in Japan, with many awards for your purses. When did you start working with textiles?

    Takeda Asayo: I started making purses in 1970 and had my first solo exhibition in a gallery in 1983.

    Do you remember how much you asked for the first bag you created to be sold?

    It was about JPY 12000 (=$150). That purchase made me confident and gave me the power to go forward.

    Takeda Asayo Japanese Textile artist - Ceramics Now

    Sculpturesque Purse, 2009, Cotton, leather - View her works

    More than 30 years ago, you established your own independent studio for the production of fabric sculpture and bags. What can you tell us about the studio, how it evolved in time?

    I would like to create the usable sculpture rather than just looking. I believe that this new concept appeals to many people, so I have been able to continue my style until now.


    Your works have an amazing and innovative design which distinguish itself. You carefully chose the fabric material, and you try to make your works to be comfortable and complimentary to the human body. Doing all that, you find a balance between functionality and design. How?

    Our body of work consists in many curved lines, so I always consider that the shape and lines of my purses can harmonize with our body line. I prefer to improvise rather than using the fixed patterns. That makes my purses comfortable to wear.

    Read More

  • Kawabata Kentaro: Untitled, 2009, Glazed clay, 26”. Photo by Taku Saiki.
    / Keiko Gallery - Japanese artists

  • Takeuchi Kouzo: Modern Remains D II, 2006, Glazed porcelain, 21” x 22” x 9”
    / Keiko Gallery - Japanese artists

  • Jorie Johnson (Joi Rae): Jorie Johnson Spring Collection 2011 (beret, vest, skirt, neck wraps), wool, novelty yarn, silk fabric, linen lace fabric, silk cord. Photo by Toyoda Yuzo.
    / Keiko Gallery - Japanese artists

  • All work is copyright of respective owner, otherwise © 2014 Ceramics Now. Website design by Thomas Cullen. Powered by Tumblr.