Art+Auction - March 2016_

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INTHESTUDIO

varieties I use together in order to ensure an even hue and

color throughout,” she tells me. “Folding and bending the

c l a y h e l p s m e t o p e r c e i v e t h e p a r t i c u l a r c h a r a c t e r , q u a l i t y,

and energy of the material.” Although her forms are

staunchly abstract, something of the surrounding landscape

of Mount Horai inevitably seeps into her pieces. “I often

go for a walk in the mountains around this area as a break

between working sessions, and I often feel a longing to

express the natural expansiveness and monumentality of

the landscape in my work.”

I t ’ s e v i d e n t t h a t c h a n c e a n d r a n d o m n e s s a l s o p l a y a p a r t ,

a s K a y o k o g e s t u r e s t o w a r d s o m e o f h e r s m a l l e r p i e c e s t h a t

r e s e m b l e t r u n c a t e d b r i c k s , p i e c e d t o g e t h e r i n a n a n g u l a r

fashion. “Some of these forms resulted from sheer chance

when cutting the clay. I found that I could change their

position, turning or lipping them around, and they would

take on an entirely different appearance,” she notes.

S t r i k i n g a d r a m a t i c c o n t r a s t w i t h K a y o k o ’ s s o m b e r ,

granite-hued vessels are Satoru’s recent works, which

ART+AUCTION MARCH 2016 (^) | BLOUINARTINFO.COM
Clockwise from
far left: Satoru
prefers blue, green,
and orange glazes
on his ceramic forms;
the artist rolls a
c l a y c o i l t o c r e a t e a
work; and a wooden
c o m b i s u s e d t o
impart texture.