works bio news text

haruna morita

1981年生まれ 東京都在住
2000–2004 多摩美術大学 美術学部 工芸学科 陶プログラム
2006– 制作・展示活動開始
2020– 多摩美術大学 美術学部 工芸学科 陶プログラム 非常勤講師

haruna morita
1981 Born in Japan, resides in Tokyo.
2000–2004 TAMA Art University, Ceramic department Studied Ceramic sculpture and Contemporary art expression.
2006– Began working and exhibiting in various galleries.
2012– Set up own studio
2020– TAMA Art University, Ceramic department , Part-time lecturer

morikoma.h (a)

Artist statement

I started to create three-dimensional ceramic works at an Arts university. At the university, the first thing that my teacher taught was that we don’t need to be stuck in stereotypes. He also taught us that we should know well about this material – clay, as well as glaze, and other things – and techniques to create our works. He emphasized that we should try to think about the reason why we use these materials, and come to be able to express ourselves in our own way. Then, I began to look for my way, which was not only to make tableware and other useful things, but also to create things which were connected to my concept.

At the beginning, I did not have strong emotion to express, so I was bewildered and felt difficulty in breaking stereotypes and creating things. But while I continued learning and groping for a motive for creation, I came to know about the things that I was attracted to strongly, little by little.

The thing which I become most interested in, in particular, was the appearance of materials which are aged and have been changed by some kind of chemical reactions and natural phenomena. For example, old bronze and glass have a beautiful patina, encrusted seashells, driftwood…etc.
When I look at them closely, it gives me a feeling like looking into a microscope, and I am fascinated by the minute and sometimes profound appearance of the objects up close.
When I look closely at the detail of these objects, my image of the form that I want to express appears gradually, and my imagination spreads. I am not conscious of use and form in my work, so I am open to various ceramic and glaze textures that can be used in my expression.

I usually start making a ceramic object without having an image of its figure clearly.
First, I make a rough shape such as bowl or cylinder with clay and work it on a potter’s wheel, or I roll out slabs and cut shapes from them. At this stage I still don’t know what the form of the finished work will be. While looking at the various shapes, image of the texture and color that I want to express begins to appear from my memory (It feels like freely making a dish with certain ingredients rather than adjusting the ingredients to a decided menu.)

Ceramics can’t be created with the some incremental process as pictures or sculptures, because texture, color and form of the material changes after being fired in the kiln. When I first see the new appearance of a ceramic piece that has been fired in the electric kiln, I am often surprised,feel a gap in my imagination, and it sparks my excitement to create. These various feelings are hard to express in words. I observe such appearances that move me carefully and try to refine them at a later stage.
I usually re-fire pieces, up to 5 or 6 times because I like such experimentation. I like the piece to be open to surprising and unexpected transformation. In this way my process is rather unique. Sometimes the piece ends up being unrecognizable as ceramic.

This experience through creation impinges on my way of thinking and feeling in my daily life. Before long, it becomes part of me, which forms myself. The unexpected and surprising results I experience when making ceramic are like a microcosm of my own life. If my creation connects with someone, I feel very happy when I know that. (‘19.3)

わたしがやきもので立体制作をするようになったのは、美術大学で学んだことがきっかけです。そこでの授業でまず始めに言われたのは、「やきものが一体どういうことができるものなのか、この素材を扱う理由はなぜなのかをよく認識をした上で、自分なりの表現が出来るようになりなさい」ということでした。 そしてそれを機に、器や皿など定型のかたちを完成させていくことではなく、手にした素材を元に自分が何をしたいのかを思索して作るようになりました。

当初、自分には強い自己表現の欲求が無かったため、モノづくりの意味や手掛かりの無さに対して不自由さや戸惑いを覚えたものでした。 それでも、様々な土や釉薬、技法について学び、創作の動機を模索し続けるうちに、自分の心に強く響くことが何なのか少しずつ掴めるようになってきました。

自分が特に興味を持ったのは、何らかの化学反応や自然現象によって変容した素材の表情、またそういった物の佇まいでした。それらをよく観察していると、まるで拡大顕微鏡を覗き込むように、緻密で奥行きのある世界が視界を通じて入ってくる感覚になります。 さらに、ひとつひとつの細部にも注視していると、次第に表現してみたいかたちのイメージが現れ、想像が連鎖していきます。制作において用途や形式を意識しないことで、気に留まった特徴を多面的に捉え、表現に活かせることにもなりました。

制作は大体において、明確に完成形を定めないまま始まります。まず粘土をろくろで挽いたり板状に伸ばしたりして、自由に大まかなかたちを作ります。この時はまだ作品の“材料”を作っている感覚です。 そうしてできたかたちを眺めているうちに、記憶の中から現したいと思うテクスチャーや色合いのイメージが浮かんできます(それは例えば、決まったメニューに合わせて材料を揃えて作るのではなく、あるものから状況に合わせて作る料理に似ているようにも思います)

やきものの制作は各工程で素材の性質が変わるため、絵画や彫刻のように状態を確かめながら進むことはできません。 特に焼成によって表れる現象に対面する時は、その都度強い興味や違和感、衝撃など、言葉では表現し難い様々な気持ちになります。 そしてそういった心動かされる表情をよく観察し、さらに表現を重ねます。 こうした行為を積み重ね、繰り返すことで結果、自分の想像を超える物が生み出されるのかと思います。

制作を通じて得られる体験は、日常生活での意識や感情にも影響し、やがて自分自身を形成する一部になっていきました。 自分がかたち作ったものは他の人にも伝わることがあり、出会いが生まれ、自分が知らない多方面に連鎖していくこともあります。 表現をきっかけに関係が生じていくことはとても喜ばしく、またそういった場に立ち会えると、とても幸せだと思います。
(’19.3 個展にて)


 I have been using pottery as my expression for about 20 years(:2021) now.
I am still trying to figure out why and what I am trying to do with it.
Even though I am not sure what I am trying to do, I feel that the flow of this act of expression is coming to me.
 In my work, I do not try to put meaning or emotion into things.
I don’t try to convey consciousness, but to capture the sensation.
 I found the word “qualia” in my search for words to describe the things I create.
It means the texture of the senses, and refers to the pure “feeling” or “quality” itself before it is flavored.
I hope that my ceramic works will be like those words.
2021. 3 Haruna Morita




(’21.3 個展 “qualia”にて)