「器であって器でない」をテーマに陶作品を制作しています。この作品は２００８年に制作しました。その頃より、現在まで一貫して続けているテーマです。装飾は、主となる器に添えられるものですが、装飾であるモチーフ（五重の塔）を、装飾の範疇を超えるようなスケールと構成で器（壷）に合体させる事で、器＝主、装飾＝従という関係を壊し、謎のものに仕立て上げる試みです。丸みのある壷のフォルムに唐突に突き刺さる直線的な五重の塔のラインがどこかおかしみを感じさせています。独自の技法ではなく、一般的伝統的な陶芸材料・技法を用いて制作しています。http://keikomasumoto.main.jp

It is a vase with a five-storied tower or a five-storied tower with a vase. Landscape paintings including temples, shrines, towers and buildings have long been used as motifs for pots and plates. Patterned motifs were drawn or sculpted along the curved surface of the vessel “for better fit”. You can also find a motif that protrudes from the surface of the vessel, such as the high relief of Shinkatsu ware, but it is obvious that it is a decoration and is mainly made of vessel. If the motif has a presence that goes beyond the category of decoration, can it still be called a “vessel”? The five-storied tower, one of the classic motifs, is abruptly merged into the pot ignoring the “fit”. Is it a pot or a tower? Which is it or which is it mainly? What kind of genre is craft, sculpture? I have seen it, but I have never seen it. A vessel, not a vessel.

The size and composition of the motif are determined by making a palm-sized model, taking into account the contrast between the round shape of the pot and the continuous line of the five-storied tower. Then sketch, and first form the pot with hand twist and roll. From the model of the five-layer tower, create a simple development view that is a guide for the actual work size, assemble parts with cardboard like paper craft, adjust the position while hitting the pot, and make parts with clay according to the pattern. Match the degree of dryness of the clay and bond the parts of the pot and tower to make the details. When the molding is complete, dry it slowly, and after that, just like ordinary pottery, do the unglazing and glaze at low temperature, melt the glaze at high temperature, and squeeze the clay.

Material: Ceramic Dimensions: h120 x 65 x 60cm Weight: 40kg