ARTISTS
Earth from Sky: Stoneware Works by Mitsukuni Misaki
Ippodo Gallery is pleased to present the first solo showcase of ceramic artist Mitsukuni Misaki (b.1951) outside Japan. The poetry of form is paired with the artist鈥檚 urge to create powerful, lifelike works, encapsulating the dual strength and subtlety of beauty in nature. 20 works on view project this unnameable sensation, with asymmetrical works conveying the desire for serenity.
The essence Misaki aims to express comes from a restlessness in his soul. Curiosity is pervasive throughout his work, and endures as a part of the artist鈥檚 nomadic experience. From his earliest years of travel in the 1970s, Misaki eschewed what may have amounted to a successful career in law during a period of revolt in academia. Instead, inspired by world-famous potter and scholar Fujio Koyama (1900鈥�1975), Misaki decided to devote himself to an artistic career. He thus traveled to many studios, drawing inspiration from the sky, the ocean, and the boundlessness he continues to seek today.
As he wrote in one of his letters, the quest for meaning is very significant. 鈥淲andering allowed me to indulge myself in the pain and sweetness of walking in the wind and rain,鈥� he writes, rhythmic and pensive.
The works are referred to as Saiyuudeiki, noted by the Japan Ceramic Society Director Koichi Mori for a well-balanced, ample form. Saiyuudeiki loosely translates to 鈥榗olored stoneware vessels,鈥欌�� with Sai 褰� as color, Yuu 閲� as glaze, Dei 娉� as clay and Ki 鍣� as vessel. The style stands in marked contrast to Bian-hu, a sleeker, flatter part of his cannon.
Ippodo Gallery is pleased to present the first solo showcase of ceramic artist Mitsukuni Misaki (b.1951) outside Japan. The poetry of form is paired with the artist鈥檚 urge to create powerful, lifelike works, encapsulating the dual strength and subtlety of beauty in nature. 20 works on view project this unnameable sensation, with asymmetrical works conveying the desire for serenity.
The essence Misaki aims to express comes from a restlessness in his soul. Curiosity is pervasive throughout his work, and endures as a part of the artist鈥檚 nomadic experience. From his earliest years of travel in the 1970s, Misaki eschewed what may have amounted to a successful career in law during a period of revolt in academia. Instead, inspired by world-famous potter and scholar Fujio Koyama (1900鈥�1975), Misaki decided to devote himself to an artistic career. He thus traveled to many studios, drawing inspiration from the sky, the ocean, and the boundlessness he continues to seek today.
As he wrote in one of his letters, the quest for meaning is very significant. 鈥淲andering allowed me to indulge myself in the pain and sweetness of walking in the wind and rain,鈥� he writes, rhythmic and pensive.
The works are referred to as Saiyuudeiki, noted by the Japan Ceramic Society Director Koichi Mori for a well-balanced, ample form. Saiyuudeiki loosely translates to 鈥榗olored stoneware vessels,鈥欌�� with Sai 褰� as color, Yuu 閲� as glaze, Dei 娉� as clay and Ki 鍣� as vessel. The style stands in marked contrast to Bian-hu, a sleeker, flatter part of his cannon.
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