Studio Pottery, Number 4, pp. 23-26 (Aug./Sept.1993) Studio Pottery is a bi-monthly magazine, intended as a useful and readable companion for all those interested in pottery and ceramic in the U.K. - 15 Magdalen Road, Exeter
The Beauty of Soul, Beauty of Form: Naturally-glazed Ceramics and HaikuMakoto Hatori
The Log Book, Issue 22. 2005, pp.3-7, The International Publication for Woodfirers and those interested in Woodfired Ceramics - P.O.Box 612, Scariff, Co.Clare, Republic of Ireland
The Japanese potter Makoto Hatori works in the Bizen tradition but has developed a contemporary language in sculptural works that links his own lineage with life today. Andy Cordy re- ports. Excerpt from Ceramic Review Number 141, p.10 (May June 1993)
"Communication as information or the intervention of the intellect" was published on a home page Old “Studio Pottery" – www.studiopottery.co.uk --- under the title of “Linearity in Tradition”, October 2003.
Studio Pottery, Number 4, pp. 23-26 (Aug./Sept.1993) Studio Pottery is a bi-monthly magazine, intended as a useful and readable companion for all those interested in pottery and ceramic in the U.K. - 15 Magdalen Road, Exeter
The Beauty of Soul, Beauty of Form: Naturally-glazed Ceramics and HaikuMakoto Hatori
The Log Book, Issue 22. 2005, pp.3-7, The International Publication for Woodfirers and those interested in Woodfired Ceramics - P.O.Box 612, Scariff, Co.Clare, Republic of Ireland
The Japanese potter Makoto Hatori works in the Bizen tradition but has developed a contemporary language in sculptural works that links his own lineage with life today. Andy Cordy re- ports. Excerpt from Ceramic Review Number 141, p.10 (May June 1993)
"Communication as information or the intervention of the intellect" was published on a home page Old “Studio Pottery" – www.studiopottery.co.uk --- under the title of “Linearity in Tradition”, October 2003.
A short presentation about the Visual Arts that discusses the meaning of visual arts, the types, philosophical perspective, its subject, sources, and levels of meaning. This presentation was created for the subject Humanities: Art Appreciation.
In fact, this column is also called the Pillar of Form. This is the passive, receptive, containing, feminine component to experience. In some Eastern systems this is Yin. It corresponds to the Vagina in coital union.
When we are discussing the Sephiroth on the Pillar of Severity, we always find these aspects of experience at some level within them. It is described as "Severity" because the constrained nature of the underlying currents of the Sephiroth in this column are consciously experienced as more restrictive and grating than those in the prior column.
The Art of Wu Guanzhong (Speaker: Vincent LEE Kwun-leung)VincentKwunLeungLee
Wu Guanzhong sought for an integration between French Romanticism and Chinese Literati Painting Tradition from both his oil and ink paintings. But, Mao Zedong and the Communist Party disliked his pro-European attempt of Sino-Western aesthetic innovations. Due to the trend of Cultural Revolution, Mao Zedong forced Wu Guanzhong to abandon what he learnt in Paris and re-adapt to the "Leninist School of Realistic Thought". But, Wu Guanzhong refused to do so. Fortunately, the colonial government of Hong Kong under British administration tried all its best to preserve Wu Guanzhong's pieces and ensure him with creative freedoms. Wu Guanzhong could thus explore a great variety of new styles while playing with his moisturized ink leisures, such as Post-Impressionism, Rococo, Abstract Expressionism, Feminism and Minimalism.
Emilio Belotti - Figurative works (1970s)Aldo Lobozzo
The idea, the technique, the originality of style. Space, time. In this sintesis the art.
I liked to restore ancient techniques, the academic world, the respectful placing in prestigious settings.
I wasn't tied to the distinction abstract/figurative, sacred/profane, but the non-temporal search of the visual synthesis.
I dealt with this knowledge in other to elaborate ideas that would lead to a mature style.
So mantaining the colour firm, light and shade contrasts, the expressive power, i came to my language.
In this introduction my way through the years, the overcoming of forming, my visual achievement.
An intriguing reference which some feel could be a type of marbling is present in a compilation done in 986 CE entitled ???? (Wen Fang Si Pu) or "Four Treasures of your Scholar's Study" edited because of the tenth century scholar-official ??? Su Yijian (957-995 CE). This compilation has details on inkstick, inkstone, ink brush, and paper in China, which can be collectively called the 4 treasures on the research. The textual content mentions a kind of decorative paper identified as ??? liu sha jian that means “drifting-sand” or “flowing-sand notepaper" which was produced in what is now the area of Sichuan.
Expression of Mind and Body "Physicality: Sumi-e/ Suiboku Sansui"Makoto Hatori
“Physicality: 墨絵Sumi-e/ 水墨山水Suiboku Sansui (07-03-1),” (W)110.0- (D)49.0- (H)19.0 cm. Stoneware (non glaze), pigment, iron rod, epoxy. Stoneware (the pieces have textures of lusterless tones, such as a Japanese paper tone), pigment, iron rod, epoxy. Electric kiln and charcoal smoked, fired 1250 degrees C. in reduction, mixed media. Year of production 2021.
A Reaffirmation of Materiality in Contemporary CeramicsMakoto Hatori
In this brief essay, I explore the idea that contemporary plastic arts have become excessively detached from "objects" as materials. I argue that this loss of materiality has serious consequences for the significance of plastic art. Needless to say, "objects" in this context refer to physical things that exist in the world. And "forms" refer to the shapes and structures of those objects. I hope that this essay will provide a starting point for discussion on the role of objects in contemporary ceramic art. I believe that This is an important issue that deserves more attention.
Fusion of Beauty and Philosophy: Makoto Hatori's Artist Statement.pdfMakoto Hatori
The decision to forgo glazes and focus on clay qualities is likened to the delicate texture of white Japanese papers. This choice adds layers of symbolism and visual depth to my ceramic work, creating a multidimensional experience for the viewers.
A short presentation about the Visual Arts that discusses the meaning of visual arts, the types, philosophical perspective, its subject, sources, and levels of meaning. This presentation was created for the subject Humanities: Art Appreciation.
In fact, this column is also called the Pillar of Form. This is the passive, receptive, containing, feminine component to experience. In some Eastern systems this is Yin. It corresponds to the Vagina in coital union.
When we are discussing the Sephiroth on the Pillar of Severity, we always find these aspects of experience at some level within them. It is described as "Severity" because the constrained nature of the underlying currents of the Sephiroth in this column are consciously experienced as more restrictive and grating than those in the prior column.
The Art of Wu Guanzhong (Speaker: Vincent LEE Kwun-leung)VincentKwunLeungLee
Wu Guanzhong sought for an integration between French Romanticism and Chinese Literati Painting Tradition from both his oil and ink paintings. But, Mao Zedong and the Communist Party disliked his pro-European attempt of Sino-Western aesthetic innovations. Due to the trend of Cultural Revolution, Mao Zedong forced Wu Guanzhong to abandon what he learnt in Paris and re-adapt to the "Leninist School of Realistic Thought". But, Wu Guanzhong refused to do so. Fortunately, the colonial government of Hong Kong under British administration tried all its best to preserve Wu Guanzhong's pieces and ensure him with creative freedoms. Wu Guanzhong could thus explore a great variety of new styles while playing with his moisturized ink leisures, such as Post-Impressionism, Rococo, Abstract Expressionism, Feminism and Minimalism.
Emilio Belotti - Figurative works (1970s)Aldo Lobozzo
The idea, the technique, the originality of style. Space, time. In this sintesis the art.
I liked to restore ancient techniques, the academic world, the respectful placing in prestigious settings.
I wasn't tied to the distinction abstract/figurative, sacred/profane, but the non-temporal search of the visual synthesis.
I dealt with this knowledge in other to elaborate ideas that would lead to a mature style.
So mantaining the colour firm, light and shade contrasts, the expressive power, i came to my language.
In this introduction my way through the years, the overcoming of forming, my visual achievement.
An intriguing reference which some feel could be a type of marbling is present in a compilation done in 986 CE entitled ???? (Wen Fang Si Pu) or "Four Treasures of your Scholar's Study" edited because of the tenth century scholar-official ??? Su Yijian (957-995 CE). This compilation has details on inkstick, inkstone, ink brush, and paper in China, which can be collectively called the 4 treasures on the research. The textual content mentions a kind of decorative paper identified as ??? liu sha jian that means “drifting-sand” or “flowing-sand notepaper" which was produced in what is now the area of Sichuan.
Expression of Mind and Body "Physicality: Sumi-e/ Suiboku Sansui"Makoto Hatori
“Physicality: 墨絵Sumi-e/ 水墨山水Suiboku Sansui (07-03-1),” (W)110.0- (D)49.0- (H)19.0 cm. Stoneware (non glaze), pigment, iron rod, epoxy. Stoneware (the pieces have textures of lusterless tones, such as a Japanese paper tone), pigment, iron rod, epoxy. Electric kiln and charcoal smoked, fired 1250 degrees C. in reduction, mixed media. Year of production 2021.
A Reaffirmation of Materiality in Contemporary CeramicsMakoto Hatori
In this brief essay, I explore the idea that contemporary plastic arts have become excessively detached from "objects" as materials. I argue that this loss of materiality has serious consequences for the significance of plastic art. Needless to say, "objects" in this context refer to physical things that exist in the world. And "forms" refer to the shapes and structures of those objects. I hope that this essay will provide a starting point for discussion on the role of objects in contemporary ceramic art. I believe that This is an important issue that deserves more attention.
Fusion of Beauty and Philosophy: Makoto Hatori's Artist Statement.pdfMakoto Hatori
The decision to forgo glazes and focus on clay qualities is likened to the delicate texture of white Japanese papers. This choice adds layers of symbolism and visual depth to my ceramic work, creating a multidimensional experience for the viewers.
Contemporary plastic arts are extremely detached from "objects" as materials, and their loss of materiality is serious. When "things" as materials, which should firmly support forms, are adrift, it is nothing more than "plastic arts" in which only forms are floating. In other words, the disconnection between "object" and "form," the loss of a sense of materiality, is also the drifting away of the relationship between "thing" and "person. To recover its artistic mission from the tendency, especially in contemporary ceramics, to be dwelled on the decoration without looking at the object, it is necessary to confirm the will of handwork to the "object" as a material. The question is why do I need such materials?
Makoto Hatori’s Ceramics: Embracing Non-Color and Tradition in Artistic Evolu...Makoto Hatori
My artistic journey and philosophy are deeply rooted in a profound exploration of ceramics and its connection to nature, materials, and the human experience. Through various subtopics and insights, we can gain a comprehensive understanding of my unique approach and vision:
"Non-color; Otherness (10-28-6)," (w)122.0–(d)75.0–(h)13.5 cm, hand-built stoneware elements assembled over some threaded iron rod, non glaze with slip, silicon tube, iron rod and epoxy, electric kiln, fired 1250 degrees C. in reduction. 8th Gyenggi International ceramic Biennale 2017, Rep. of Korea. Exhibited at Icheon World Ceramic Center 263, Gyeongchung-daero 2697 beongil, Icheon-si, Gyeonggi-do, 17379, Rep.of Korea. April 22-October 9, 2017.
Exploring Chaos and Certainty: The Enduring Vision of Makoto HatoriMakoto Hatori
In 1969, I presented a conceptual work that incorporated the externality of "sand" as a non-self-contained material. The exhibition embraced "sand" as a medium, intentionally inviting randomness and disrupting the delicate balance between things that are inherently difficult to define. This artistic exploration reflects the recognition of an emerging unknown externality, embodying the age of chaos. This was a pivotal moment that shaped my subsequent creative philosophy. During this period, Makoto Hatori's sensibility gravitated toward traditional Japanese ceramics.
Artist Biography and Creative Philosophy of Makoto HatoriMakoto Hatori
Makoto Hatori learned about Japanese ceramics, including designs that were created without human intervention and the natural glazing process, while working as an apprentice under a master potter of traditional ceramics in 1968 and 1974. Since then, he has continuously strived to recognize the coexistence of subjects and objects and follow the natural flow of things at every opportunity. His approach explores the relationship between nature and human beings, and his works are founded on a professional ethic and aesthetic that place value on spirituality and contemplate a shared identity with nature. Hatori's philosophy is rooted in the expressive value of the body itself, which is remembered and in motion. His approach is influenced by Japanese traditional ceramics discourse, particularly the concept of "kata" or form. He views the "work" as a "material" a "ready-made product," transformed through a change in perspective, and embraces the unknown effects that can result from this approach. Ultimately, Hatori's approach illuminates the possibilities of spurring diverse perspectives.
"Parasitism," (w)34.0-(d)19.0-(h)205.0 cm, wheel-thrown and stoneware with slip, wood-fired, and charcoal smoked, 1280 degrees C. in reduction, wood, and epoxy. Gyeonggi International Ceramic Biennial 2015, Rep. of Korea. Exhibited at Icheon World Ceramic Center 167-29, Gyeongchung-daero 2697 Beon-gil, Icheon-si, Gyeonggi-do, 467- 020, Rep. of Korea, April 24- May 31, 2015.
"Barley Field," (w)102.0-(d)16.5-(h)38.5 cm, stoneware and slip painting, traditional way fired to 1250 degrees C. oxidation, eight-day firing. World ceramic Biennial 2003 Korea, International Competition. Exhibited at Ichon World Ceramic Center, South Korea, September 1- October 30, 2003.
"On the Impulse of Curiosity," (w)99.0-(d)39.0-(h)44.0 cm, stoneware with slip, sprayed solution of salt, wire additions, traditional way fired to 1250 degrees C., oxidation, eight-day firing. The mass of small wheel-thrown tubes cements another reality. The 1st World Ceramic Biennial 2001 Korea, International Competition. Exhibited at World Ceramic Center, Ichon, Korea, August 10- October 28, 2001.
The relationship between traditional food culture (kaiseki) and ceramics.
CPA News, The Newsletter of the Craft Potters Association of Great Britain, Number76, p.6 (March/April 2001).
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
1. http://www2r.biglobe.ne.jp/~makoto-h/
Hijiki-Non-color: A “White” that Germinates
Makoto HATORI
I have been searching for what it means to be mui-shizen or, “as it is,” the natural state, as it
relates to traditional Japanese non-glaze ceramics. This is the ultimate manner of how a person
should act as a person. The “way,” so to speak. It was not something that could be replaced with
terms like décor or technique, nor was it an idea either. Of course it cannot be defined as
“nature worship,” and to relate the “assertiveness” of being “as it is” to Japanese Buddhism
would only trivialize its broadness. What lies at the core of being “as it is” will only ever lead to
being “as it is.” Even the long lasting tradition cannot impede on this.
What does the “non” in non-glaze ceramics signify? A world without absolutes. It becomes a
world where the insecurities in the landscape of my heart are projected. The “non-color” (white)
that I talk about, is the state where the unclean or contaminated come together with possibilities
and the unknown. Here, color does not exist, a state for which I myself cannot even arrive at my
own conclusion.
Color represents the nature of the people, and the sense of color is both spiritual and
traditional. In Japan we relate to the color “white” as seen in the wood or Japanese cypress
surface (called plain wood building) with which local shrines and mausoleums are made. That is
what is considered the “white” found in nature, and is the material of the silk loom itself, and can
be called a neutral color. The luster of the surface of the cypress wood dulls over time, and
transforms into a “shibumi,” or maturity. The richness of shibumi gives the piece its luster, which
aligns with the “dull” coloration of the “white” of Japanese paper. This beauty of nature is best
expressed in the spirit of “sadō
,” or tea ceremony, and is reflected in the color palette of the
spatial arrangements and equipment for that ceremony.
There are many words in the Japanese language to express chromatic changes. We say color
“fades (aseru),” “dulls (kusumu),” “recedes (nukeru),” becomes “discolored (shirachakeru),”
“ages (jidai ga tsuku),” or “earns prestige (haku ga tsuku).” These descriptions of the color
fading are not meant to be negative but rather represent a view of life and death that personifies
and takes pleasure in the fading colors. To relate it to one’s own life and death is to confront
being “as it is.” “Non-color (white)” expresses this view of life. It becomes a creative process that
aligns with nature, and, as much as this process allows, an elimination of excess. By prohibiting
2. additional elements (we call this kinjiki) we are able to acquire a sharpened view of life and
death.
This “non-color (white)” will surely allow me to germinate. The expression of color and white
themselves leads to introspection, which is a very Japanese spiritual tendency. It is something
that has been very close to traditional Japanese aesthetics since long ago. In Japanese colored
paintings, the idea of “shared space” does not relegate the areas such as margins, or pure areas
in ink paintings (the paper or ground material itself), as merely the background or surface. It is
seen as the relationship between the subject and others, an unintentional but assertive existence.
Existence is not an independent occurrence, but by recognizing “otherness,” various “colors” are
expressed. It is impossible to establish one’s existence without establishing others in relation to
oneself.
“Non-color," as a whole of the installation, (w)95.0 (d)53.0 (h)9.0 cm, stoneware with slip, with aluminum board and
epoxy. Electric kiln, fired 1250 degrees C. in reduction. Exhibited at L'Alcora Ceramic Museum, Spain, June 26-
September 6, 2015.
“Non-glaze ceramics” by traditional firing methods are called non-glazed because a glaze is not
intentionally added. However, as an unmerited reward, the heat from the firing gives it a
beautiful appearance, an exquisite color, that exceeds human finesse; this is natural wood-ash
glaze. At times, the heat damages the ceramic, which is quite the opposite result. In the context
3. of Japanese traditional ceramics, these instances are accepted as non-standard “works of art”
that don’t have a preliminary design. These become the fodder for “mitate,” or judgment, for
“sukisha,” or those with refined but slightly eccentric tastes, and caters to their playful spirits. By
making interpretations and judgments of unintentional natural results, we are able to see the
possibilities of understanding works without a preliminary design. What traditional Japanese
ceramic artisans refer to when they say “unglazed” is a return to the undifferentiated, chaotic
situation between man and nature.
This resembles the state of when a person does not yet stand as person, a state in which they
still connote nature, which is exactly the conflict that traditional Japanese ceramic arts harbors. It
is nothing but the moment of hesitation one feels upon seeing no relation in the result between
their own hard work and skill, and the fired piece. Furthermore, what should come under scrutiny
now is the unpredictability of the materials, clay, and nature, which undermines the “self” that
seeks to control the outcome. Even for an experienced potter, he/she can no longer create
ceramics as he/she wants to. They are well aware that the inequality between the material and
“self” does not lead to good results.
The ideal creative process would be that the work slowly takes shape, there being an equality,
which should naturally exist, between the maker and the material. That process of repetition
which has no end is the “way.” The only thing I can do is to ease these feelings of conflict
through introspection with each piece, an expression of the “self,” that is made. To accept each
case and interpret it accordingly. There is no actual goal in regards to what the introspection
should lead to, and when it comes down to it, Japanese traditional ceramics is exceedingly about
a certain format. In the traditional Japanese arts, even in the martial arts, it is not about being
against each other, where strength and outcome (victory and defeat) are admonished and the
opponent thought of as the enemy. To coexist with others becomes the ideal. In any case, the
ultimate objective is to unify oneself with others by the movement of the body and efficient
operation of it is the objective.
This lack of correlation between the skills of the “self” and the work made that exists in
traditional Japanese ceramic arts is similar to the passivity of farmers and fishers experience
through nature’s blessings and harvests. In a creative process that does not differentiate between
the subject and other, we see the “self” that surmises the spirit of nature. It has been my own
long, inner struggle to see the reward in the mercies of nature and to make further
interpretations and expand my understanding. The beautiful decoration from firing, like fire
change and fallen ash—the natural glaze— were things I interpreted in order to deceive my own
consciousness. The lack of correlation between my skill and the work made, makes it difficult to
grasp my own clear image. The unmerited reward given to the work, made by an unskilled person
such as me, even irritated me.
4. This unsettled feeling inside me is what allows for my creative process to germinate. And to
endlessly layer “white” provided the means to confirm this. A thorough understanding of “non-
color” enabled me to move my hands and go back and forth between the physical and
conceptual realms, and connect it to a re-creation of the shared spirit, or words. In order to
express the conceptual realm, I must materialize it in the physical realm.
The thought structure behind traditional Japanese non-glazed ceramics is as such: at the top is
the kiln (a spiritual existence to be feared and not taken for granted), next is the clay, the
material (benevolence, and the universal power of nature), finally comes the person (the spirit,
the maker). Thinking about the kiln in this relational structure, my frustration towards the
unmerited results, I sever the memories and experiences that control me by repeating the
“white,” which is life itself. The actions and behaviors accept the ceaseless doubts in the heart
ridding it of all guilt and allowing the subject and other to be even more equalized.
"Non-color; Otherness (10-28-6)," as a whole of the installation, (w)122.0 –(d)75.0 –(h)13.5 cm, hand-built
stoneware elements assembled over some threaded iron rod, non-glaze with slip, silicon tube, iron rod and epoxy,
electric kiln, fired 1250 degrees C. in reduction. 8th Gyenggi International ceramic Biennale 2017, Rep. of Korea.
Exhibited at Icheon World Ceramic Center 263, Gyeongchung-daero 2697 beongil, Icheon-si, Gyeonggi-do,17379,
Rep.of Korea. April 22- October 9, 2017.
5. “Hijiki—Non-color,” which is created not by traditional ceramic processes, expresses “language.”
The composition of the work complies with the structure of language. These are the egg shapes
and the apparatuses that link to them to conjoin them. The egg shapes symbolize the
ideographic element of the Japanese language, the Chinese characters (kanji), or icons. The
phonographic letters, kana (hiragana, katakana) are the links, which go unrepresented. This
element recognizes the individual icon of the “others,” and is provisionary and has potential for
utility, but is separated and has no meaning. It cannot be interpreted, nor can it be ignored. It is
material at odds.
The egg shape, the icon, is not simply meant to be an egg, per se. It is an egg as a conceptual
entity. The egg, while being the very first form of life, signifies an ordinary shape and meaning,
but is an infinite entity with deep potential. That egg shape, is the ideal pursued, so to speak,
and is a fundamental message. The aforementioned combined images of the “two signs” respond
to each other and are brought to the foreground, and are processed as information side by side.
The images, while relating to one another, also question each other’s “otherness.” When the
relating parts link together, the icons begin to subtly adjust. That is to say, they are unified.
The Material was written especially for the work of the 8th Gyenggi International Ceramic Biennale 2017, Rep of
Korea.