Keiichi Shimizu  清水圭一

Nestled in a beautiful valley along the Shitodani River among towering mountains northwest of Kyoto is the picturesque village Tachikui, the historic center of Tanba* pottery. The rich ferrous soil in this area has supported generations of farmers and artisans since the early Kamakura period (1180-1230). The oldest existing nobori-gama (climbing kiln) in Japan is found here. Because of its relative isolation, Tanba is less influenced by outside commercial trends than some other more accessible pottery towns in Japan. Old Tanba pottery had a restrained dignified appearance, exuding quiet confidence that reflected its proud heritage. This rich tradition provides the foundation for Keiichi Shimizu, one of the most innovative contemporary Tanba artists.

Keiichi Shimizu, a 4th generation potter, was born in 1962 in Tanba Tachikui. Following the footsteps of his father, a highly respected potter in the Tanba tradition, he went to Kyoto to study pottery at Kyoto City Vocational School. After graduation in 1984, he launched his productive career in his home town as one of the most innovative ceramic artists.

Unlike most other traditional Tanba potters who base their works largely on wheel-thrown vase forms, Shimizu develops many original forms from slab-built surfaces. Shimizu is especially interested in three-dimensional interplay of lines and surfaces, using clay of contrasting colors and textures to accentuate such interactions. His works show a strong minimalist influence, with clean lines and taut surfaces. Curves are used sparingly and purposefully, to introduce tension that seems to hold together the stark geometry. The results are deceptively simple forms that belie great conceptual sophistication and meticulous attention to details, a perfect balance between quiet traditional Japanese aesthetic and dynamic modern interpretation.

To achieve his artistic vision, Shimizu does not shy away from new techniques. He uses both a gas kiln and a traditional wood-firing kiln. Shimizu uses only clay found in the mountains around Tanba. He refines his clay by removing large stones and gravels. His works show a delicate and refined appearance without appearing cold and sterile. He uses a coarser local clay along with a white Tanba clay as a decorative slip, to add texture and characters to his work. The pieces chosen for the current show epitomize the distinctive style of this exceptional artist.

* Tanba is a phonetic translation of two Japanese characters: 丹 'Tan' (red) and 波 'Ba' (wave). Tanba, Land of Red Waves, got its name from a kind of red rice grown in ancient time which turned the fields into seas of red. The name is often translated incorrectly as Tamba.

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