A Serene Perspective

Discreet and bold. Delicate and yet, dynamic. Shohei Ono’s artworks create an universe of wonder, where contradictory elements seem to coexist. As it can be called ‘the art of clay and fire’, pottery is often being described as a way of expressing the organic existence of nature as it is. But Ono's view seems to be slightly different.

‘Kneading the clay, shaping it, and firing it in a kiln. The basic process of pottery making has not changed so much from ancient to modern times. However, the environment that surrounds us is completely different from what it used to be, and it is still constantly changing every minute. People do not live surrounded by natural objects only, but if you look around you, there are many artificial objects such as home appliances and digital gadgets, and so on. This world does not consist of one single element, but various elements entangle together and coexist in harmony. That’s what I find exciting.’

So, where does Ono's multiple and serene perspective come from ?

‘When I was young, I was a type of child who was sensitive to the reactions of others, and was rather shy and unassuming. Because of allergies, I had a lot of constraints on food and activities, so I often used to stay home, and drew pictures on drawing papers with colored pencils, or played making robots by connecting clothes pegs. At the same time, both my parents are artists, so I had the occasion to spend most of my childhood during elementary school in various South East Asian countries, such as India, Thailand, and Indonesia. This experience allowed me to witness and learn at an early stage, how the world is composed of various races and cultures, and how they mixed and blended together. It could be my personality and my life environment that influenced each other, and gave me unconsciously the habit of comparing the possible relationships between what comes inside of me, and what surrounds me, and try to figure out the best balance out of it.’

He had once started to work, but decided at the age of 25, to seriously pursue the career as a potter, and serve his apprenticeship under Ryoji Koie. He still remembers clearly what Koie had told him, soon after he became his apprentice.

‘At that time, my master was not in good health, and could not create his works as he wished. One day, my master came and told me, "I cannot teach you how to use the potter's wheel, but I can show you how I will deteriorate." I was surprised by what he suddenly said, but while looking at the way he worked from close, I came to feel that, creating an artwork was more than creating an object intentionally, and the way the artist lives his life, and the surrounding environment have more impact on the result. This discovery released me from thinking in a stereotypical view that ‘pottery must be like this’, or ‘a vessel should be made like this’, and gradually, it allowed me to face my work more freely and purely, and only pursue what I truly find beautiful.

But, what is "beauty" in the first place ? Is the general concept of beauty, a phenomenon that abounds in vivacity, moves your heart and inspires your imagination ? But besides that, something that careers an intense energy, having a mysterious appeal, or that deteriorates over the years, for example, can also be fascinating and captivating. With his unique conception of beauty that some may disagree with, and through his particular perspective, Ono created the series "Rusting Shape" using iron glaze.

‘Unlike ordinary vessels, the series "Rusting Shape" consists of objects that were created having absolutely no specific function or purpose. The motifs are industrial products that surround us, to which people pay no particular attention, such as air conditioner ducts, electric wire bundles, smart speakers, and so on. These objects are not designed intentionally, but when you sometimes see them being exposed, and damaged over time, I can feel a certain ephemeral beauty of the moment. When I realized this fact, I decided to try to capture that moment with my own hands.’

The way Ono engages in his work by digging the clay with his own hands and producing independently, is surprisingly honest and pure. On the other hand, it shows that he does not get caught in the closed atmosphere of the crafts industry. He thinks in a flexible manner, and continues to diversify his artistic activities by transcending the borders of the art of pottery.

‘Living in this world, I feel that it's natural to create by being influenced by the circumstances and time we live in. But, I still want to react honestly to the sensations that spring from my body. This leads me to expressing myself in my own unique way.’

TEXT by Hisashi Ikai

静かなる視点

控えめにして大胆。繊細にして力強い。相反する要素が一つの世界に共存するような、不思議な匂いを醸し出す小野象平の作品。土と火の芸術と呼ばれるように、陶芸は自然が持つ有機的な存在をそのままに表しているように語られることが多い。しかし、小野の見解は少し異なっているようだ。

「土を捏ね、形づくり、窯で焼く。作陶の基本的なプロセスは、古代から現代に至るまで、さほど大きな変化はありません。しかしながら、いま私たちが暮らす環境は昔とはまったく違うもので、いまこの瞬間でも刻一刻と動き続けている。人は自然物だけに囲まれて暮らしているわけでもなく、周囲をぐるりと見回せば家電やデジタルガジェットなど、多くの人工物が存在します。この世は単一の要素で成り立っているのではなく、さまざまなものが絡み合い、調和を保ちながら存在している。それこそが素晴らしいと思うんです」

こうした多様で穏やか小野の視点は、どこから生まれたものなのだろう。

「幼い頃は、比較的周囲の反応を気にするタイプで、どちらかと言えば内気で主張の少ない子供でした。アレルギーのせいで食べ物や行動に制限があったため、家に篭っては、画用紙に色鉛筆で絵を描いたり、洗濯バサミをつなげてロボットを作って遊んだりしていました。一方で、ともに表現者の両親に伴って、小学生時代は、インド、タイ、インドネシアなどの東南アジア諸国を移り住んでいましたから、この世にさまざまな人種や文化が存在し、それらが交錯し、混じり合う様子を目の当たりにしてきました。自身の性格と生活環境が影響しあって、いつの間にか自らの身体から滲み出るものと周辺との関係性を比較したり、調和を見計らったりするクセがついたのかもしれません」

一度は社会人生活を送るものの、25歳のときに本格的に陶芸の道を目指し、鯉江良二に師事。入門してすぐに鯉江に言われた一言が、いまでも小野の脳裏に強く焼き付いている。

「その頃、師匠は体調を崩しており、十分な創作ができずにいました。ある日師匠が僕に向かって、『お前にロクロは教えられないが、俺が朽ちていく様を見せてやる』と言うのです。突然の発言に驚きながらも、近くで師匠の姿を見ているうちに、ものづくりには、意図的に形づくること以上に、作り手の生き様や取り巻く環境が反映する。焼き物はこうでなければならない、器はこう作らなければならないという画一的なものの見方から離れ、より自由に、純粋に、自らが美しいと思うものだけを追求していきたいと、段階的に思うようになりました」

そもそも「美しさ」とはなんだろう。生命感に溢れ、心が華やぎ、色めき立つような現象こそが、一般的な美しさの概念だろうか。しかし、これとは別に強烈なエネルギーを持つもの、たとえば毒気を放つものや年月を経て朽ちていく様子にさえに、心ときめき目を奪われることもある。一部では疎まれるような、独自の美のあり方に思いを馳せ、小野らしい視点で切り取ったのが、鉄釉を用いたオブジェシリーズ『錆びるかたち』だ。「通常の器とは違い、『錆びるかたち』では、具体的な機能や用途を一切持たないオブジェを作っています。モチーフにしているのは、エアコンのダクトや電線の束、スマートスピーカーなど、身近な場所に在るのに、見向きもされないような工業製品ばかり。何気ない造形物ですが、ときに野ざらしにされ、時間とともに風化していく姿を見ると、はかなげながら瞬間の美しさを感じるんです。そんな事実に気づいたとき、自らの手でその瞬間を捉えてみようと思ったのです」

自らの手で土を掘り、一人で制作を続ける小野象平が陶芸と向き合う態度は、驚くほどにまっすぐで純粋だ。一方で、工芸の閉鎖的な空気に捉われることなく、柔軟に世の中を捉え、ボーダレスなものづくりの環境を生み出そうとしていることもわかる。
「この世界で生きている以上、状況や時代に影響されながら創作して良いと思っています。その分、自分の体から湧き出る感覚には素直に反応したい。それが僕にしかできない表現につながっていると思っています」

TEXT by 猪飼尚司／Hisashi Ikai