I will explain the back and forth between "kata ( 型 , model)" and "kata ( 形 , form)" in my traditional wheel-thrown molding.

1. http://www2r.biglobe.ne.jp/~makoto-h/
Kata: The body that keeps on transforming
Makoto Hatori
I will explain the back and forth between "kata (型, model)" and "kata (形, form)" in my
traditional wheel-thrown molding.
By repeatedly deforming the concentric circles that correct the "form" formed by the
potter’s wheel, he attempts to acquire flexible "material." The next process, traditional firing,
which may be understood as a device beyond our power, causes 窯変 yohen (accidental
coloring or glazing by flame) that produces a natural wood-ash glaze, a gift from nature, on
the fired ceramic. It is the destruction of the "neatness" (form) created by nature. Instead of
adhering to 居着 itsuki, or the immobile and stagnant state of being a "completed form," I
have come to accept this work and its atypical aesthetic as an alternative variant (which is
also an involuntary "occurrence").
Examples of such variants include the discerning eye of the wabi-sabi practice that
simultaneously conforms to and defies aesthetic legitimacy, its representation of
heterogeneity and heteromorphic forms; and the concept of 狂者 kuruimono—the stylized
eccentric persona that was deemed an aesthetic refinement—enacted by dancers and
entertainers in Japan, who characterized the ideas of 婆娑羅 basara (ostentatious behavior)
and kabuki (out-of-the-ordinary behavior) developed in the medieval and early modern
periods, respectively. This atypical aesthetic is understood here as "kata"( 形,form), one of
the key concepts of the Japanese traditional ceramics discourse. For me, kata is a "work"
with utility, completed by an action dictated by traditional standards.
Also addition, the created object as a system is doomed to acquire some kind of
expressiveness, which is what I call 居 着 itsuki. I don’t see this as completion in an
unambiguous and fundamental sense, and, instead, I abandon my identity as the subject
performing alterations and "creations." This can be seen as an overwriting of the concept
"material" by considering the "work" as a "ready-made product"—a transformation in
perspective on those that have been created. The ready-mades, created by assemblage and
combination, stand as an expression of an action to be taken—that is, transformation into a
dynamic entity.

2. Aesthetic factors composed by assemblage are full of infinite possibilities and embrace
unknown effects. Here, the self-contained nature of creation transforms into an involuntary
occurrence and "shifts" into a state of openness that encompasses the object to be seen as
well as the viewer. It does not, however, mean that such creations are recreated. This "shift"
is expressed in such a way that it illuminates the possibilities of spurring diverse
perspectives.
Here, the theme is not to create "kata (形, form)," but rather to present a "raw state," in
which the work is transformed into an open physicality—an ambivalent, bodily image that
sees and is seen simultaneously. This can be called "contact improvisation," which is not to
view the "performed" dance but instead to instantly give form to the body by performing
and enacting the physical characteristics of the diverse Others. In contriving such an
encounter between myself and the Others, my presence is inscribed into the work. The
basis of my work is an expressive value of my body in itself that is "remembered" and in
motion.
Originating from "kata (型, model)," "kata (形, form)" comes and goes ceaselessly between
the two homonyms "カタ, kata." In traditional Japanese arts ( 芸道 geido), where arts and
moral philosophy merge to form a circle, kata (型, model) functions as an ambivalent bodily
image that involves interiority and exteriority. Kata, the "model," exists as an unchanging,
unwavering entity that simultaneously changes constantly whenever its homonym, "kata (形,
form)" is enacted as an occurrence.
"Vessel: Otherness," as a whole of the installation, (w) 76.0 (d) 27.0 (h) 20.0 cm, wheel-thrown
and altered stoneware, with natural glaze, fire change, and traditional way firing at 1260 degrees
C., reduction. 4th International Triennial of Silicate Arts, Hungary, exhibited at Kecskemét
Cultural and Conference Center, Hungary, August 3-September 7, 2014.