A Reaffirmation of Materiality in Contemporary Ceramics

In this brief essay, I will explore the idea that contemporary plastic arts have become excessively detached from "objects" as materials. I will argue that this loss of materiality has serious consequences for the meaning and 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 a discussion about the role of objects in contemporary ceramic art. I believe that this is an important issue that deserves more attention.

Transcript

1. A Reaffirmation of Materiality in Contemporary Ceramics Makoto Hatori Contemporary art often emphasizes concepts over the materiality of form. This trend is also noticeable in ceramics, with an increasing focus on decorative and conceptual elements. However, I believe that traditional Japanese unglazed pottery (natural wood-ash glaze), which reflects a profound connection with nature and a set of philosophical underpinnings, provides a valuable counterpoint to this trend. The unglazed pottery, characterized by its simple, unadorned forms that reveal the inherent beauty of natural materials, conveys a deeper understanding of the natural order, changes, and harmony between people and nature. I advocate for a reaffirmed appreciation of the significance of objects in contemporary art and ceramics and a reconnection between people and nature, seeking harmony and unity between objects and individuals through ceramics. Inspired by the principles found in traditional Japanese unglazed pottery, I aspire to create ceramic works that express the innate beauty of materials and contribute to the exploration of the relationship between people and nature. Through this essay, I hope to bring you
2. face-to-face with my long-held beliefs about the nature of reality in this world, the inevitable alterations and changes, and the enigmatic nature of such existence. I point out a notable rift in the realm of contemporary ceramic art between the materiality of “form” and "thing" as a material. This presence of "form" and “shape” adorned with ornamentation, lacking a strong connection to the materials used to create it, is a conspicuous contemporary visual arts phenomenon. The ever-widening gap between the physical “form” and the "thing" is a metaphor for the divergence between people and objects. Contemporary ceramics are also becoming increasingly detached from their materiality, and this is reflective of a larger trend in society away from physical objects and towards digital experiences. Contemporary ceramic art has sometimes forsaken the fundamental connection between objects and their material core. Within the realm of fashion-trendy pursuits, the profound interplay between "thing" and "form" is frequently overshadowed by an obsession with superficial aesthetics and ornamentation. What is important is to re-emphasize the importance of the object as a material for physical existence. The crux of revitalizing contemporary ceramics rests upon recognizing the profound significance of the object as the tangible embodiment of the artist's vision. It is imperative to reignite the spirit of traditional artistry, where the artist's hand assumes a pivotal role in molding the material into a form that transcends mere decoration. Embracing this symbiosis between the hand and the material (clay) will reignite the artistic mission and fortify the intrinsic connection between the "object" and its "form". It draws from the deep roots of tradition, where wisdom and artistic excellence are firmly embedded and extend into the present day, allowing the ceramic artist's vision to roam freely and venture into uncharted territory.
3. Makoto Hatori, "Pulse of Transformation," (w)112.0_(d)61.0_(h)11.0 cm. Hand-built Stoneware (uniquely formulated stoneware clay, unglazed, textures of a Japanese paper tone). The ceramic plate is supported from below by a 1.6 mm thick steel plate. On top of the ceramic plate, paper clay coated with 胡粉 gofun artists' chalk (rectangle in the center) and a silicon tube. Electric kiln and charcoal smoked, fired 1250 degrees C. in reduction. The 16th International Biennial of Ceramics in Manises, Spain, in 2024. Ultimate, my theme is "non-color," which represents my aesthetic approach. It aims to embody the essence of the traditional Japanese concept of natural glaze (non-glaze) and create artworks that express the memories and continuous changes of the physical body through the control of expressive consciousness. The each materials, combined within a unified form, play a significant role in the manifestation of my art. The unglazed ceramic, with its texture reminiscent of 和紙 washi paper and a milky white surface, symbolizes the spiritual realm, while the non-ceramic material, which will eventually decay, represents the imperfect perceptual world. All things are in a state of flux, existing within an endless cycle of life, death, and rebirth. This constant transformation exemplifies the existence of "things," and it is within this context that I superimpose my own existence.