When I pour my whole heart and soul into the clay and the mass of the clay is moving violently, the surfaces are fought with each other and a ridgeline full of vitality is born.

This ridgeline, which is both inevitable and coincidental, is not a mere outline of a shape, but invite us deeper imaginary shapes,and the power of art to evoke images outside the realm of the visual mind.

The technique of shaping clay and scooping out and finishing , I called it ” Kurinuki ” and presented works at the Mitsukoshi Department Store in Nihonbashi, Tokyo in 1989 for the first time .

The making pottery activity that started with potter’s wheel was already over 40 years, and Kurinuki born in exploring again became able to become ripe as such even if a form was considerably complicated.
Forms that defy gravity (e.g., warped) have a sense of tension and levitation, but the process is really It is unstable and difficult to work with.

In addition, the high heat and the load of gravity in the kiln often leads to deformation and self-destruction. Nevertheless, new creation will not be born unless they are boldly challenged by overcoming various physical limitations.

Firing of the kiln, the last chapter of the process, is a process in which the flame is controlled with the utmost care, keeping in mind the ideal firing results from experience. Sometimes it is forced.

It is the true pleasure of a climbing kiln.

Haikaburi (ash cover) ,Youhen (kiln change color), Kairagi (frizz of glaze)and Gohon (spots) are all part of the climbing kiln. As a great attribute, it induces elegance in the form.

The kiln flames are truly fascinating, and we may be tempted by its magical charm again and again. It must be pulled toward us and controlled as an element of expression.

Thus, the power of the flame is added to the modeling shape by the power of the ridge and display successful conclusion as completion form of the Kurinuki.

Masanao Kaneta