Of course, history informs architectural and ceramic decisions, as well. So, when Matsunaga realized that he was better suited for a life working in ceramics, he returned to Tajimi with an architect’s tendency to scrutinize the site conditions as a means to find inspiration for the project at hand. According to Matsunaga, Fujimoto “asks the big questions” of the fundamental concepts of architecture. Matsunaga left Ichinokura to study architecture, eventually finding work in the studio of the prominent architect, Sou Fujimoto, whom the artist cites as a major influence. The town’s production of sake cups and small ceramic wares can be understood as an adaption to these conditions. Ichinokura’s makers have long faces significant production and distribution obstacles a limited supply of local clay forces reliance on clays brought in from elsewhere, and the town’s narrow streets prohibit passage of large trucks. Matsunaga was raised by ceramic artist parents in Ichinokura, a town known for sake cup production in the ceramic industry region of Tajimi, Gifu. Citing major earthquakes and complex global concerns, the artist has incorporated this contemplation into the materials, processes and surface techniques of his sculptural ceramic practice. The exhibition is on view through January 25 th, 2020.īorn in 1986, Keita Matsunaga describes his generation as one which is concerned with all kinds of ideas of repair, renewal, remix and reuse. Nonaka-Hill is pleased to present new ceramic works by Keita Matsunaga in his first solo exhibition in the United States. Photography: all images copyright and courtesy of the artists and Nonaka-Hill, Los Angeles Keita Matsunaga
0 Comments
Leave a Reply. |