器も含め、土の成型、釉薬などの技術は、教育、生活文化と環境によって、器の形や構造の先入観が無意識に固定された。

 

歴史の流れ、先祖の技術発展は引き継ぐことができる。

 

その集合的な無意識の「思い出」から、技術やテクノロジーの発展、世界への新しい見方の発見によって、新しい衝撃を受けた私たちはその「思い出」を受け継ぎ、伝統的なものを新しくアレンジし、その悠久な「思い出」を作り出したものにうつす。

 

作家が時間と精神と生命を「いれて」作ったもの、ある種、作家自身から「うつした」器、時間の器、命の器、精神の器、人格の投影ともいえるだろう。

I mainly use clay for my art practice. I make clay work with delicate and minimal style.

The time I work with clay is the time for the conversation between my self and subconsciousness, and the conversation between me, the materials and the world. It is also the time for me to review my past.

 

I am interested in the materiality of things and the internal and external space created by the objects, and how the space interact with the surrounding environment. The phenomenon occurs inside is the main component of my artwork.

 

Using the technique from craft, the context thinking perspective from contemporary art, the presentation of installation to express my identity, the relationship between space and object, and the new perspective of ceramics arts. Recently, my work are mainly focus on the polarity of things, such as presence and absence, movement and still, ambivalent ideas exist in the same time, same space and the same object.