Evening Tide 21-c

Satoshi Kino, b.1987 Kyoto, Japan

Evening Tide 21-c

33,5 x 28,5 x 3,5 cm



Having started creating ceramics as a teenager, Kino Satoshi had his first solo exhibition at the New Taipei City Yingge Ceramic Museum in Taiwan within ten years. He originally wanted to pursue a career as a stone sculptor, but when he entered Seika University in Kyoto and discovered the powerful sculptural ceramics of Nishida Jun (1977-2005) in a retrospective exhibition, Kino decided to specialise in ceramics. Inspired by Nishida’s powerful, large and dense forms, he first tried to follow this sculptural perspective, but soon realised that it did not match his own aesthetic sensibility.
Fascinated by the potential of fired porcelain to turn to stone when polished, Kino chose to focus on porcelain. His sculptures resemble long, undulating ribbons of celadon glazed porcelain. First throwing a spherical strip onto the wheel, rather than moulding it, Kino then divides this tapered strip into segments. Using the centrifugal force of the wheel, he manually transforms these thin, attenuated sections into flowing works of art. After drying, he carefully sands the entire work before firing the biscuit. Then, before the final firing, he applies a translucent bluish-white glaze (seihakuji) using a compressor before firing in a reducing atmosphere. The artist credits his unique process with allowing the works to blend into the surrounding space, as he is inspired by nature, particularly the phases of the moon.

Satoshi Kino’s porcelain sculptures are inspired by the serenity inherent in water, air, plants and other natural elements. In addition, he attempts to reproduce the tension that quietly exists in our environment and to convey it through his works.
For many of his works, Kino is inspired by Japanese words used to describe the natural world. For example, “oroshi” is the Japanese term for a strong wind blowing down a mountain slope; the delicate edges of his sculptures evoke the violence of the wind, and the celadon blue glaze represents the cold on the skin. “Evening Tide” is a quiet reference to the beach. By combining the use of porcelain as a medium, the challenge of using the potter’s wheel and the meaning of eloquent words, Kino’s work conveys a distinctive narrative.

The artist states:

“The forms of my porcelain sculptures are expressed solely through lines, and I want to leave a resonance of the piece in the air as well as in the hearts of people who see my work.
I have discovered with enthusiasm that when I throw a piece, I can stretch the clay into very fine shapes, and that this process erases the traces of my hands and fingers. It is as if the piece of clay is absorbed by the air, and only a thin outline remains on the wheel. For me it is the resonance of something that has disappeared.
I am also fascinated by the nature of porcelain, which can express two extremes simultaneously: solidity and delicacy, or stress and tranquillity. It is as if these contrasting aspects react to each other like an echo. The inspiration for my sculptural forms usually comes from nature – shapeless things like wind, air, water, but sometimes also the attractive forms of plants and the landscape. The beautiful balance I see in these things inspires my creations.
Japanese aesthetics are deeply connected to nature, and there are many poetic words that express and evoke nature. I use these words as titles for my works because they trigger the imagination of people who see them. As I said earlier, my philosophy is expressed through the integration of the materials and techniques I use.”