We discover the beauty behind the works of Ceramic Artist, 森田 春菜 ‘Haruna Morita’, this week as we proudly announce her as our Featured Artist of The Week. Based in Tokyo, Japan, Haruna’s work reflects the fragility of clay and takes on the form of excavated ancient artefacts and bone fragments. Inspired by long lost pieces from the seabed textured by sediment, Haruna uses techniques to make each piece look so delicate and as though it has been thinned by age. We spoke to Haruna to find out more about her craft and inspirations…
Haruna was born in Chiba, Japan in 1981 and in 2000 she went to study Ceramics at TAMA Art University in Tokyo. In 2006, Haruna was already exhibiting in galleries throughout Japan and by 2012 she had set up her own studio where she now works as a freelance Ceramic Artist.
Her work is made by manipulating clay using different ceramic techniques, which is the most important and unique part of her process. The material is moulded by hand and fired in a kiln, purposefully leaving evidence of the human hands that sculpted it; worn textures, weathered by years long past. She cannot obtain this through any other material, only through clay by using fire and the forces of nature.
“I first studied pottery at University – the course consisted of teachings about ceramic sculpture and art expression, not how to make bowls, dishes and other daily necessities.
Whilst I was there, I came to be very interested in the material of the ceramic craft.
The ceramics can be moulded by the sculptor’s hands, this is very important because it can convey thought directly – My friend said “the palm is like a doorway to the heart. People put their hands together at the time of prayer.” I believe this is true.
Ceramics has the ability to be so varied in it’s texture representation, it can echo the texture of metal or wood, bone and shell… I achieve this with my own techniques and methods. I think my ceramic style and technique is quite rare. Most of my pieces are fired again and again, I think this makes them look similar to the texture of oil painting by layering so many colours. However, it is a very different method, due to the firing process. During process before firing, the piece does not show texture and colour and I must proceed by guessing what the completed look will be. Unexpected things happen during the firing process and I am always surprised by what comes out, even if it was what I almost expected it to look like.”
“I think the firing part of the process reflects my life and is almost reminiscent of the phenomenons on the Earth.”
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