2006 Living Tradition in Japanese Pottery Series II

Hiroyuki Wakimoto

A New Direction in Bizen Ceramics

May 5 - 31, 2006

See Hiroyuki Wakimoto's 2007 show

Hiroyuki Wakimoto  脇本博之

For centuries, wood-fired pottery from the "six ancient kilns" in Japan (Tanba, Bizen, Echizen, Shigaraki, Tokoname, and Seto) helped cultivate a quiet aesthetic sensibility and an appreciation for simple unadorned beauty. The pottery center of Bizen produced many exceptional ceramists including five Living National Treasures, more than any other historic pottery areas. This luminous heritage offers great inspirations for contemporary ceramists, but at the same time leaves an enormous legacy for them to live up to. Traditionally, Bizen pottery is made for use. Blessed with a gorgeous local clay that turns brilliant red after firing, historically Bizen ceramists emphasized firing effects on functional but rather conservative forms. It is a challenge for contemporary Bizen artists to innovate without risking disconnection from tradition. Hiroyuki Wakimoto is a notable exception who successfully integrates creativity with the Bizen tradition.

Born in 1952 in Tsushima, Nagasaki Prefecture in Kyushu, Hiroyuki Wakimoto received art training in textile design in Osaka Art College. In his senior year, he decided textile design was not his interest and left the college. While visiting a friend who was doing an apprenticeship in Bizen, Wakimoto found his true calling in Bizen-yaki. He began an apprenticeship under George Yamashita, an accomplished ceramist who had studied under Living National Treasure Jun Isezaki. Nine years later, Wakimoto established his own kiln and gradually built a reputation as one of the most distinctive artists in Bizen.

With a great interest in forms and training in design, Wakimoto creates some of the most interesting works in contemporary Japanese ceramics. His works are instantly recognized by bold, sophisticated forms with clean lines and beautiful fire markings. What sets Wakimoto apart from many of his peers is his ability to create astoundingly innovative work without abandoning the cultural connection of this art form.

For example, one of Wakimoto’s original forms is a three-legged sake bottle (see picture), which traces its conceptual origin to ancient Chinese wine-servers (ref. 1). The design is a seamless fusion of the old and new. In another example, incense burners take the forms of stylized figurines that may well be inspired by ancient Japanese Haniwa pottery; yet these forms may also evoke Isamu Noguchi’s whimsical ceramic sculpture. Even his abstract works are not without a cultural basis. The "Stone" series (see #13, #17 in current show), for example, apparently receive their cues from ancient walls in Japan. Those pieces are sculpted from chunks of clay rather than thrown on a wheel. The technique, called kurinuki, offers great freedom for creating unique shapes. Many of these are composite works composed of multiple components. To produce contrasting colors, Wakimoto fires the separate components in different parts of the kiln. Wakimoto recalled the evolution of his style, "In the beginning, I cared too much about making my work unique, my hands struggled with the clay. Then one day, I set my hands free to express my feelings without thinking too hard. From that day, my work became spontaneous."

The Achilles heel of many innovative wood-fire ceramists is in their firing techniques. In this respect, Wakimoto’s mastery of the firing process is legendary. He does a 14-days firing once a year in a three-chambered noborigama (climbing kiln) that holds up to a thousand pieces, representing his entire year’s work. This working style requires extraordinary confidence and impeccable technical expertise. He keeps detailed records of every firing, including data on temperature and the exact position of every piece in the kiln. This meticulous approach and technical excellence allow Wakimoto to carry his artistic visions to fruition.

Wakimoto has won many prestigious awards in his career, including the Grand Prize of Yakishime Exhibition. In 2002, his work was first exhibited in America in Touching Stone Gallery. The show was enthusiastically received. Two years later, he was invited by the New Mexico Museum of International Folk Art to show at the International Folk Art Market. During that visit, Wakimoto toured several ancient Anasazi Indian ruins in the area. That visit further broadened his interest in other ancient cultures. The ensuing years saw interesting new works that might have been inspired by Anasazi Indian architecture. Wakimoto’s untiring quest for new ideas is possibly the most significant attribute of a creative artist. Indeed, this quality may ultimately distinguish art itself from craft.

Click on images to view selected pieces

To order call 505-988-8072, see Inquiry/Order

Vase Form No. 1

  wood-fired ceramic   18"h x 14.5" x 8" (3 views)

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Vase Form No. 2

  wood-fired ceramic   17"h x 10" x 7" (3 views)

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Vase Form No. 3

  wood-fired ceramic   7.5"h x 10" x 7.5" (2 views)

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Vase Form No. 4

  wood-fired ceramic   6"h x 6.5" x 5" (2 views)

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Vase Form No. 5

  wood-fired ceramic   4.5"h x 7.5" x 7" (2 views)

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Vase Form No. 6

  wood-fired ceramic   5"h x 7.5" x 7" (2 views)

Vase Form No. 7

  wood-fired ceramic   10"h x 7" x 6.5" (2 views)

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Vase Form No. 8

  wood-fired ceramic   9.5"h x 5.5" x 4" (2 views)

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Vase Form No. 9

  wood-fired ceramic   4.5"h x 8.5" x 3" (2 views)

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Vase Form No. 10

  wood-fired ceramic   8"h x 7" x 3.5" (2 views)

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Vase Form No. 11

  wood-fired ceramic   5.5"h x 9" x 4.5" (2 views)

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Vase Form No. 12

  wood-fired ceramic   8.5"h x 3.75" x 3.75" (2 views)

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"Stone" Vase No. 13

  wood-fired ceramic   4.5"h x 4.5" x 4" (2 views)

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Incense Burner No. 16

  wood-fired ceramic   4.75"h x 3.75" x 3.5" (2 views)

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Incense Burner No. 14

  wood-fired ceramic   6.5"h x 5" x 4" (2 views)

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Incense Burner No. 15

  wood-fired ceramic   6.5"h x 5" x 4" (2 views)

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"Stone" Vase No. 17

  wood-fired ceramic   3.5"h x 6" x 4.5" (2 views)

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Guinomi No. 18 

wood-fired ceramic  2.5"h x 2.5" x 2.25"  (w/ box)

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Guinomi No. 19 

wood-fired ceramic  2.25"h x 2.5" x 2.5"  (w/ box)

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Guinomi No. 20 

wood-fired ceramic  2.25"h x 2.5" x 2.5"  (w/ box)

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Guinomi No. 21 

wood-fired ceramic  2"h x 3.25" x 3.25"  (w/ box)

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Publications

2002    Omen - An article on Hiroyuki Wakimoto's work, by Tim Wong & Akko Hirano. In: Ceramics: Art & Perception, no. 48, pp. 97 - 99.

Reference

1.         Omen. Ceramics: Art & Perception, no. 48, pp. 97 - 99. 2002.

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