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Open a larger version of the following image in a popup: Izumita Yukiya 泉田之也, "Laminated" teabowl 積層 盌
Open a larger version of the following image in a popup: Izumita Yukiya 泉田之也, "Laminated" teabowl 積層 盌
Open a larger version of the following image in a popup: Izumita Yukiya 泉田之也, "Laminated" teabowl 積層 盌
Open a larger version of the following image in a popup: Izumita Yukiya 泉田之也, "Laminated" teabowl 積層 盌
Open a larger version of the following image in a popup: Izumita Yukiya 泉田之也, "Laminated" teabowl 積層 盌
Open a larger version of the following image in a popup: Izumita Yukiya 泉田之也, "Laminated" teabowl 積層 盌
Open a larger version of the following image in a popup: Izumita Yukiya 泉田之也, "Laminated" teabowl 積層 盌
Open a larger version of the following image in a popup: Izumita Yukiya 泉田之也, "Laminated" teabowl 積層 盌
Open a larger version of the following image in a popup: Izumita Yukiya 泉田之也, "Laminated" teabowl 積層 盌

Izumita Yukiya 泉田之也

"Laminated" teabowl 積層 盌
Stoneware
H3.5"xW4.7"x D4.1"
H8.8 x W11.9 x D10.4 cm
With Signed Wood Box
Sold

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Izumita Yukiya (b. 1966) is a contemporary sculptor and potter whose works resonate with modern design and the wider field of contemporary art. His smaller functional works epitomize his main...
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Izumita Yukiya (b. 1966) is a contemporary sculptor and potter whose works resonate with modern design and the wider field of contemporary art. His smaller functional works epitomize his main body of work, which are sculptures and vessels that show off his “Laminated”, “Marbling clay”, and “Layer” series. The rough textural details of his work create geometric and expressive forms.


With chamotte/stone/sand mixed into the local clay and finished using copper glaze, Izumita’s works are characterized by their texture which possesses an ancient warmth. He uses both a gas kiln and a wood-fueled kiln for different effects. In this 'Laminated' series, he utilizes paper during the modeling process. They express the strength and fragility of clay. Since his hometown was destroyed during the 2011 tsunami, his work features naturalistic curved lines that embraces the dynamism of natural movement in his works. He embraces the notion of “wabi sabi”, or imperfection and in more crude terms “broken” textures, which resonates with the collective trauma felt from 2011. Part of his Post-2011 repertoire grapples with the long aftermath of the tsunami.


He has been exhibited extensively internationally and within Japan.


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