About the Exhibition (Text by Yoichi Umetsu)
This is a two-person show featuring Masumitsu Kanzaki, the head of the Marumasu Seito kiln in Shigaraki, and the artist Yoichi Umetsu. It differs somewhat from a typical two-person exhibition in that Kanzaki works as a craftsman (artisan) and Umetsu as a fine artist. As such, Kanzaki sees the things he creates as “products,” while Umetsu views his own creations as “works of art.” This raises the question: what is the difference between the two? This question seems to conceal another, fundamental question, namely “What does it mean for people to make things?” Even within the category of ceramics, there is a wide range of uses and ways of perceiving things, from everyday items and building materials to traditional crafts and art objects. While for “works of art” there tends to be a strong emphasis on uniqueness and originality, “products” too are not necessarily uniform or replaceable. Let us explore this idea further by examining the current situation in Shigaraki, where both Kanzaki and Umetsu are based.
Shigaraki is widely known as one of Japan’s leading pottery production areas, and is counted among the country’s Six Old Kilns. It is known for its high-quality clay, sourced from the ancient layer surrounding Lake Biwa, and for the extraordinary skill of its potters, which have led it to be known especially for large pieces. Another characteristic of Shigaraki ware is rustic charm that capitalizes on the natural qualities of the clay. Over time, Shigaraki has adapted to the needs of different eras, producing items ranging from pots to tanuki (raccoon dog) figurines, umbrella stands, orchid pots, flower vases, washbasins, and bathtubs. Early in the Showa era (1926-1989), Shigaraki produced 80% of the nation’s hibachi (charcoal braziers). Unlike other centers of ceramics production, Shigaraki still relies on artisans to create each piece by hand rather than on automated mass production. This use of local clay and artisanal craftsmanship underpins Shigaraki ware as a brand, and implies that while being “products,” the pieces also have the individual quirks and variations we associate with “works of art.”
Today, however, the supply of high-quality clay in Shigaraki is becoming depleted, making it increasingly difficult to use local materials. It seems that “Shigaraki ware” imbued with a grand narrative of “people, clay, and fire coming together” is becoming a thing of the past. Nonetheless, the artisans’ expertise, large kilns, and vast database of clays and glazes remain intact, attracting many creators from elsewhere in Japan and overseas to Shigaraki. Recently, growth in the number of contemporary artists has become particularly noticeable, and some of the infrastructure of Shigaraki’s pottery industry, which once focused on mass production, is now being readapted to creation of contemporary art. I (Umetsu) personally rent an area of Marumasu Seito as a workspace.
The title of this exhibition, Hige-san, literally means “Mr. Beard” and refers to a bearded artist. Historically, “Hige-san” was a somewhat pejorative term, indicating a dismissive stance toward the idea of the “artist.” In Shigaraki, proprietors of large noborigama (climbing kilns) and pottery workshops were more esteemed than individual ceramic artists who made whatever they liked. This hierarchy clearly still informs the present-day townscape of Shigaraki.
The current situation surrounding ceramics is quite complex. Traditionally, painting and sculpture were classified as “fine arts” while crafts such as pottery were classified as “applied arts,” but in recent years, the boundaries between and definitions of traditional crafts, contemporary crafts, and contemporary art have become increasingly blurred. Ceramics are now more often categorized based on the context in which they are presented and the community to which they belong, rather than on a formal distinction between “works of art” and “products.” As mentioned earlier, this exhibition features works by Kanzaki and Umetsu, but it aims to do more than just showcase their creations. Our hope is that by reinterpreting art and industry as two sides of one coin, we can gain some insight into profound questions such as “What does it mean to make things?” and “Who are the torchbearers of culture?”
Yoichi Umetsu
Born in Yamagata prefecture, 1982. Contemporary artist, representative of Parplume. Interested in the point at which modern art painting emerged in Japan, his production and activities cast a sharp eye on education at art university preparatory schools and art colleges in Japan. In addition to producing paintings, including self-portraits, and video works documenting performances, organizing exhibitions and writing essays, he also runs the private school 'Parplume Prep School', where he runs a production/semi-communal life.
Major solo exhibitions include 'Heisei Mood' , Sokyo (Kyoto), 2021;「APMoA Project, ARCH vol. 20 Yoichi Umetsu Solo Exhibition 未遂の花粉」, Aichi Prefectural Museum of Art (Nagoya, Aichi), 2017;「ラムからマトン」, ARATANIURANO (Tokyo), 2015;「智・感・情・A」, ARATANIURANO (Tokyo), 2014.
Major group exhibitions include「絵画の見かた reprise」√K Contemporary (Tokyo), 2021; 'Art of the Heisei Period: Bubbles/ Debris' Kyoto City KYOCERA Museum of Art (Kyoto), 2021;「梅津庸一キュレーション展 フル・フロンタル 裸のサーキュレイター」Mitsukoshi Contemporary Gallery (Tokyo), 2020; 'Weavers of Worlds: A Century of flux in Japanese Modern/ Contemporary Art', Museum of Contemporary Art Tokyo, 2019;「恋せよ乙女！パープルーム大学と梅津庸一の構想画」The Watari-um Museum of Contemporary Art (Tokyo), 2017.
In 2023, he participated in the exhibition 'World Classroom: Contemporary Art Through School Subjects' to commemorate the 20th anniversary of the Mori Art Museum, and published a collection of his works entitled 'Yoichi Umetsu | Pollinator' (Bijutsu Shuppan-sha).
Masumitsu Kanzaki
Traditional craftsman of Shigaraki ware. Runs Marubai Pottery in Shigaraki, Koka City, Shiga Prefecture. Formerly known as Maruhan from Hanzaemon Kanzaki, the company manufactured lanterns and braziers. In the mid-Showa period, the company changed its name to Marubai Seito and specialized in the production of orchid bowls. Currently, in addition to manufacturing umbrella stands and flower vases, Marubai Pottery also cooperates with artists in assisting their creative productions.
For more information and images, please contact:
info@gallery-sokyo.jp / Tel: 075-746-4456
Sokyo Gallery | 381-2 Motomachi, Higashiyama-ku, Kyoto 605-0089 Japan