Kumakura Junkichi's departure from functional ceramics to avant-garde, experimental and sculptural forms serves as a compelling exploration of the interplay between playfulness and sculpture. This is evident in his incorporation...
Kumakura Junkichi's departure from functional ceramics to avant-garde, experimental and sculptural forms serves as a compelling exploration of the interplay between playfulness and sculpture. This is evident in his incorporation of surrealistic influences and his inventive manipulation of space and form. While paying homage to conventional styles such as Nabeshima ware and Rimpa, Junkichi introduces a minimalist aesthetic that stands in stark contrast to the ornate inclinations of the Meiji period. This bold departure signifies an innovative shift in the ongoing discourse between the tangible and the void.
The iconic Irabo glaze has been used in the creation of daily vessels since the Korean Goryeo dynasty. Unearthed from sites in Busan and Yangsan, this ash glaze is renowned for its distinctive ash effects. Modern Japanese potters have long admired and sought to replicate this technique. The ash glaze, applied to functional objects, gracefully descends down the vessel's walls. Kumakura Junkichi harnesses the inherent qualities of ash, leveraging its weight and gravity to create an object that engages with these forces.
While it may initially appear as a sculpture, the piece gradually reveals its purpose as a flower vase. Thoughtfully designed, it features openings within its folds to accommodate flower stems. The organic, biomorphic forms of the vase offer a touch of the grotesque. In this artwork, Junkichi skillfully navigates the delicate balance between form and function, leading the viewer playfully in one direction while ultimately presenting the true nature of the object in a different light.