19. KUWATA Takuro
1981 Born in Hiroshima Prefecture
The motif that Kuwata Takuro chose for it is a contemporary icon: Pikachu. "While pursuing what could be called the acme, today, of Gifu’s mass production technology,” a comment filled with his respect. The lean body is formed on a “power machine.” He has thoroughly examined the vessel as a contemporary standard, to be comparable to the symbolism that Pikachu have. Then the colorful slip, the thick glaze, the gleam of gold and platinum pigments—the diversity is displayed. Finally, Pikachu, applied using the latest transfer printing technique. The richness with which the cups brim with every repetition of the process is, however, undoubtedly to be received directly, without need of consult a ceramics dictionary. The knowledge and experience of the Mino ceramics production center, are, however, mobilized in this work and form its backbone. In the cuteness of Pikachu, gushing forth like a fountain from the bottom of the cup, we can trace the enthusiasm of Japanese craftsmanship.
Kuwata’s works have clear, bright, and flat coloring. Some of the tones might be called not to be seen in ceramics, but, to Kuwata, that is one experience in what is characteristic of ceramics. “I open the kiln, and gasp! What had been pale blue has turned, after firing at over 1200 degrees centigrade, a striking dark blue. What a delight!” Deeply moved, he has pushed ahead—“More and more,” “Over the top.”
The motif that Kuwata Takuro chose for it is a contemporary icon: Pikachu. "While pursuing what could be called the acme, today, of Gifu’s mass production technology,” a comment filled with his respect. The lean body is formed on a “power machine.” He has thoroughly examined the vessel as a contemporary standard, to be comparable to the symbolism that Pikachu have. Then the colorful slip, the thick glaze, the gleam of gold and platinum pigments—the diversity is displayed. Finally, Pikachu, applied using the latest transfer printing technique. The richness with which the cups brim with every repetition of the process is, however, undoubtedly to be received directly, without need of consult a ceramics dictionary. The knowledge and experience of the Mino ceramics production center, are, however, mobilized in this work and form its backbone. In the cuteness of Pikachu, gushing forth like a fountain from the bottom of the cup, we can trace the enthusiasm of Japanese craftsmanship.
Kuwata’s works have clear, bright, and flat coloring. Some of the tones might be called not to be seen in ceramics, but, to Kuwata, that is one experience in what is characteristic of ceramics. “I open the kiln, and gasp! What had been pale blue has turned, after firing at over 1200 degrees centigrade, a striking dark blue. What a delight!” Deeply moved, he has pushed ahead—“More and more,” “Over the top.”