View Image Gallery Makoto Hatori(Full member)Email:
Critical Essay - Sharing with others
Making things does not necessarily related to creativity. For instance, it is often the case that the ultimate perfection of the technique ("god hand") is considered as attaining an artistic element and the resultant work may be regarded as an artistic one. However, even if the work is the product of the highest technique, if it only gives its presence in a certain limited duration of time, claims the usefulness (not necessarily in the concrete sense) within the existing value system ... often protected by the state ..., and lives its life within the existing socio-political value system (this is exemplified by "living treasure" in Japan), it has nothing to do with art. The truly creative art should be the personal expression of the artist's herself/himself, unbounded by any soft of existing value; it sould be the communication towards unique individuals. The art, in this sense, is always unstable and should be agressive, within the environment, both external and internal, in which the art is situated in. In the traditional Japanese view on art, the recognition of such tension and conflict is regarded as the singular spirit in the process of creating things, which will be shared with recipients (not necessarily human beings) or the others.
Critical Essay - Communication as information
Creativity requires some preconditions. To make/create things does not necessarily mean creativity. I would like to sketch a few restrictive conditions that can be observed in the world of Japanese work (making goods) and by that describe the spirituality in Japanese work. Through that, I believe my position will manifest itself in the midst of the current information/knowledge society.
Born in 1947 in Japan, Makoto Hatori apprenticed to master potter Ken Fujiwara in 1969. He then earned a degree in sculpture at Nihon University, College of Arts and went on to study technology at the Gifu Prefectural Institute of Ceramics. By 1975, he had established his own studio in Ibaraki┼ia region in eastern Japan┼j, where he still works today. Since 1978 the artist has participated in numerous exhibitions in Japan, Italy, Great Britain, New Zealand, Egypt, Belgium, Germany, Lithuania, U.S.A., Croatia, South Africa, Australia, Taiwan, Estonia, Korea, Spain, Hungary. 1992, he taught ceramics at Manchester Metropolitan University Department of Art and Desigin. 1994┼`1996, Makoto is member of Contemporary Applied Arts in England. 1996,98 Invited to International Ceramic Symposium by Lithuania Panevezyo City Council. 1997 Invited to " Earth and Fire" Craft Potters Association Great Britain. 2006 Invited to " Wodfiring symposium" - Organised program for 2006- by International Ceramics Studio in Hungary. 2007 Invited to International Ceramic Magazine Editors Association (ICMEA) by ICMEA and FuLe International Ceramic Art Museum, Fuping, Shaanxi, China. He has published a number of articles and reviews on ceramic art. His works are included in the collections of South African, Korean, Hungarian, UK museums.
1993 - 48th Faenza International Ceramic Art Competition, Italy. "Guidepost of Bamboo Sprout"
1978, 79, 81, 82 ,85 ,87, 89, 90& 91 - Recent Work of Traditional Art Crafts, Nihon Kogeikai, Japan
Other Mixed Exhibitions:
1995 - Exhibition of Completion Memory, Ibaraki Ceramics Research Center, Ibaraki, Japan. "Landscape"
1993 - Victoria & Albert Museum (U.K.), " Ring", Bizen-styly Facetd Mizu-sashi
"Marketing Conditions in Britain for Japanese Potters through the eyes of a Japanese Potter"
Ceramics meet non-ceramic materials, Exhibition 2010
Ceramics meet non-ceramic materials
was held from 22 to 25 April at Gallery Galatea, Ibaraki Prefecture, Japan.
Makoto Hatori's statement about this exhibition is set out below:
For a long time I have been trying to identify elements that would enable me to extend my range to cope with the modern-day demand for artworks in the Japanese tradition of aesthetic sensibility and thought. From this, my theme of "otherness" emerged. Sharing a spiritual element with others is possible not only among humans but can be extended to non-human and non-organic materials. Starting from this understanding, I adopted a method of combining ceramics, which are flexible in many senses, with other materials, my aim being to achieve more informative works of art.
The ceramic parts of the pieces in the exhibition are realised in part by using traditional unglazed natural firing with pine logs and in part by carbonizing in an electric kiln. It is this second technique that I have been using since 2008. When firing in an electric kiln using charcoal, the timing of the addition of the charcoal is critical. Moreover, in an electric kiln the pieces are coated with clay but we skip biscuit firing to take maximum advantage of the carbonizing effects of the flame. This produces wares comparable to those fired in a traditional kiln.
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Contact DetailsStudio Address: Kubogaoka, Moriya-Shi, Ibaraki-Ken, Japan, 302-0104.
Joined on: 2008-02-06
Last Updated: 2011-04-20