Hanada's 150

September 14 to 16, 2017
Opening reception : 6pm to 8pm, September 14, 2017

Handling more than 300 artists that associate with his ceramics store, Hanada picks 150 pieces.

It's the 41st year that the Tokyo-based Hanada Pottery will select 150 pieces of pottery that are just about "use".
Takashi Yomiya, Kazuhiko Kudo, Yoshinori Izumi, Yutaka Hanaoka, and more a collection showing the true strength and achievement that makes Japan proud.

With the distinction of having over 40 year history in Tokyo,
Utsuwa Hanada's second generation president, Eisuke Matsui,
introduces to New York the works of  his favorite ceramic artists!

300名超の作家と共に歩む花田が選ぶ150選
 

本年41年目を迎えた東京、暮らしのうつわ花田が、
まさに「使う」ための焼き物を150点セレクトしました。
余宮隆、工藤和彦、和泉良法、花岡隆ら、
日本が誇る実力派の力作が集います。

Kazuhiko Kudo
Takashi Yomiya 
Yoshinori Izumi 
Shoji Yoshioka 
Osamu Okamoto
Yoshida Manabu
Yutaka Hanaoka 
Haruya Abe

工藤和彦 くどうかずひこ、
余宮隆 よみやたかし
和泉良法 いずみよしのり、
吉岡将弐 よしおかしょうじ、
岡本修 おかもとおさむ、
吉田学 よしだまなぶ、
花岡隆 はなおかゆたか、
阿部春弥 あべはるや

Kazuhiko Kudo – Hokkaido

Originally from Kanagawa prefecture, Kazuhiko Kudo chose to be based out of Asahi-kawa in Hokkaido because of the soil called, Kenbuchi clay. Never used for ceramics, this clay is roughly 200 million years old, and about 45,000 years ago it made its way over to Japan through Siberia. It became a question of how this clay can be used, and as a result of five years work, the utterly original yellow kohiki was developed. As its name implies, it is the kohiki technique with traces of yellow, however, like the land in Hokkaido, there is strength in the material. Wood-fired or the classic method, it is dynamic in its grand essence, its expression is powerful and infinitely deep.

工藤和彦（くどうかずひこ） 北海道
神奈川県出身の工藤さんが北海道旭川を仕事の拠点として選んだ理由は「剣淵粘土」と呼ばれるその地の土。元々陶芸に使われていたわけでもないその土は約2億年前のものであり、4万5千年前くらいにシベリアから日本に飛来したものでした。その土をどう使いこなすのか、5年に渡る探求の末、オリジナリティあふれる黄粉引が生まれます。文字通り黄色味を帯びた粉引ですが、北海道の大地を感じる、力のある素地です。薪窯も本格始動、元来のおおらかでダイナミックな表現にさらに力強さや深みが増しました。

Takashi Yomiya - Kumamoto Prefecture

After apprenticing for Takashi Nakazato, Yomiya established his own unique style. Now he is Japan's most beloved potter with the most admirers. The original style that can largely be attributed to him and his particular technique, even now, is his handmade tableware. Going past his status as Japan's top potter, Yomiya's ambition is simply "tableware that makes food taste even just a little more delicious", an ambition that perhaps may never be answered or met.

余宮隆（よみやたかし） 熊本県

余宮さんは、中里隆氏に師事後、独自のスタイルを築き上げました。そして現在は日本国内で最も多くのフアンを持つ陶芸家の一人。その元々独特であったかたちや技法のスタイルの多くは、今や手作り食器では当たり前のスタイルとなりました。日本のうつわ作りのトップを走り続ける余宮さんが目指すのは、シンプルな「少しでも美味しく食べられる食器」というおそらく終わりも答えもない理想です。

Yoshinori Izumi - Kyoto Prefecture

The heart of Izumi-san's work is celadon, cinnabar lacquer, oil drops, and pottery from the Chinese Song dynasty is at his base. In the past, he's inspected Chinese celadon and old firings of tenmoku pottery. While invoking ancient landscapes and techniques, he focuses on materializing the pottery he loves. The infinite number of test pieces at his workshop is a result of accumulating all possible components. A lover of traveling, Izumi-san has visited over 50 countries, even using volcanic ash from abroad. From Izumi-san, "I research because I want to understand, but as much as I try, ultimately, I can't understand everything, and that's what is enjoyable." 

和泉良法（いずみよしのり） 京都府
和泉さんの仕事の中心は青磁、辰砂（しんしゃ）、油滴など、中国の宋の時代の焼き物をベースにしたものです。過去には中国の青磁、天目の古窯跡を視察。当時のもの作りの風景や仕組みを思い浮かべながら、愛する焼き物の実現に注力します。工房の無数のテストピースは、今の仕事のレベルがあらゆる要素の膨大な蓄積の結果です。旅を愛する和泉さんの訪問国は50カ国超、海外の火山灰も活用します。｢分かりたいから研究するんだけど、どれだけやっても結局全ては分からないから、楽しいんだよ｣。和泉さんの言葉です。

Shoji Yoshioka - Ishikawa Prefecture

Yoshioka-san started down the ceramics path 22 years ago.
At first, at Ishikawa prefecture's Myousen-Tobo, where they handle the pottery for the Imperial household, he mastered the exquisite tradition and techniques.
Then at Kutani-Seiyo he refined his sense of everyday-use ceramics and bowls.
After he started on his own, the traditional patterns of Koimari and Sometsuke was his foundation that he worked vigorously to learn.
The training cultivated a skill with the brush that showed one's true personality and character, astounded by the labor involved, to actualize something only of high quality and technique.
This work that focuses on continuing the delicate patterns of the later half of Koimari is a true illustration of the distinctive character of Yoshioka-san.

吉岡将弐（よしおかじょうじ） 石川県
吉岡さんが陶芸の道に入ったのは22年前。当初は皇室の食器を手掛ける石川県妙泉陶房（みょうせんとうぼう）で、精巧を極める伝統技を会得し、その後九谷青窯（くたにせいよう）で日常使いのうつわのセンスを磨きました。独立後は古伊万里、古染付をベースにした伝統的な文様の習得に邁進します。修練で培った巧みな筆使いと真面目な人柄が、気の遠くなるほどの手間と、高い技術を要する仕事も現実のものとします。中でも、古伊万里、それも中後期を中心とする精緻で連続性を含む文様の仕事は、吉岡さんの本領発揮の場と言えます。

Osamu Okamoto - Ishikawa Prefecture

After training with Kutani-seiyo, he established himself as an independent potter. In the world of potters, he is the few and ever precious "it can be drawn" color paint artists. The patterns to show up in his work ranges from koimari, kosometsuke, kokutani to kenzan, or possibly, angels, the alphabet, icons, Persian designs... In Okamoto-san's days, traversing carelessly across geographic boundaries to create new work would stir our expectations in the best way. Such is the Osamu Okamoto that holds respect and affection for Matisse. Interpreting in the style of the classics and fine arts, he moves toward a brush stroke and expression that is unique to him and his pottery.

岡本修（おかもとおさむ） 石川県
九谷青窯で修行後、独立。うつわの世界において、今や数少なくなった貴重な“描ける”色絵作家。登場する文様は、古伊万里、古染付、古九谷から乾山、或いは、天使、アルファベット、イコン、ペルシャ文様･･･。岡本さんの時代、地理を軽々と跨ぐ制作姿勢は新作を出すたびに我々の期待を良い意味で裏切ってくれてきました。マティスを敬愛する岡本修さん。古典や美術に対する“らしい”解釈が、独特の筆致によりうつわに表現されてゆきます。

Manabu Yoshida - Chiba Prefecture

Triggered by the bankruptcy of the Tsukiji wholesale broker where Manabu Yoshida was working, the incident introduced him to the world of ceramics. At the core of his work are mostly woven materials, iron glaze, kohiki, and molds, as well as hand-formed ceramic cords. After a mere two-hour course in wheel-throwing, he went on his own to study and train. With a sample, he visited Hanada about a year later. With his techniques and methods, each piece resembles traditional features. However, everything is dressed in original adornment. With his mostly self-taught background and natural talent, he creates pieces that can claim to be one-and-only.

吉田学（よしだまなぶ） 千葉県
吉田学さんは勤務先の築地仲卸の倒産により、半ば事故的に陶芸界に参入。仕事の主軸は織部、鉄釉、粉引で、成形はほとんどが、手捻りの紐作り。わずか2時間のロクロ体験教室を受講後、独自の研究と修練に入り、見本とともに花田を訪れたのはその1年後でした。技術や製法など、吉田さんの仕事の其々のピースは従来の伝統に従うものですが、全体としては独自の装いをまとっています。ほぼ独学というバックグラウンドと、持って生まれた才能が、今のオンリーワンの立ち位置を現実のものとしました。

Yutaka Hanaoka - Shizuoka Prefecture

After studying under Shiro Banura in Iga City, Mie prefecture, about 40 years ago he started a kiln in Shuzenji, Shizuoka prefecture. There, he opened up the world to what is now known as "kohiki tableware". At the time, it was the norm to use kohiki as the foundation for any painted pottery. The world Hanaoka-san presented showed the values and beauty of people at the time in a provocative way, and a kind of movement was born. However, different from most other movements, it is one that we don't tire from. Even now, it continues to attract young fans, young potter's admiration, even the reason to become a potter. Hanaoka-san's work is splendid without necessarily emphasizing personality. However, a "Yutaka Hanaoka kohiki" is something you'll always recognize.
 
花岡隆（はなおかゆたか） 静岡県
三重県伊賀市、番浦史郎（ばんうらしろう）氏に師事後、今からおよそ40年前に静岡県修善寺に開窯。今では当たり前となった“粉引食器”の世界を切り拓きます。当時、粉引は絵付を前提とした素地としての存在が主流でした。花岡さんの提示した世界は、当時の人々の価値感や美意識を大いに刺激し、一種のムーブメントも発生。ただ、他の多くのムーブメントと違ったのは、未だに飽きらずにいること。今も若いフアンが生まれ続け、多くの若手陶芸家があこがれ、陶芸志望の理由に挙げます。花岡さんの仕事は華美でも個性を強調したものでもありませんが、ひと目で分かるのが「花岡隆の粉引」です。

Haruya Abe

Bizen, after training with Izuru Yamamoto, he went back to his hometown, Ueda, in Nagano prefecture, and started his own studio in his twenties. Specializing in delicate and gorgeous reliefs, he starting creating ceramics that would elevate cuisine. Not hurrying to be excessive in his self-expression, he continues to hold the pride of a fine artisan. White porcelain, blue lapis lazuli glaze, yellow porcelain, colorful variations that keep multiplying.

阿部春弥（あべはるや）
備前、山本出（やまもといずる）氏に師事後、生まれ育った長野県上田市にて20代にて独立。繊細で華やかな陽刻（ようこく）を得意とし、料理を引き立てる脇役としてのうつわ作りに邁進します。過度な自己表現に走らず、職人としての矜持を持ち続けます。白磁、ルリ釉、黄磁など、色のバリエーションも増えてきました。