Nagae shigekazu objectives

Throughout the decades artists have been fascinated with the human body and have used it as inspiration in their artworks. The body’s complex anatomy and the unique features of every person has been studied in detail. Fine artist and sculptor Kristiina Haataja has been highly interested in the expression of certain parts of the body. To show her appreciation of its beauty she creates sculptures from metal and clay that captures specific areas in an abstract way.

The sculpture focuses mainly on the upper parts of the body, including the head, neck, shoulders and chest. She aims to capture the elegant and often delicate characteristics of these parts. Formed out of her curiosity to see what can be created when Ancient Greek sculpture meets the Post Modern Cubist form, Kristiina has developed an interesting style called ‘Ancient Cubism’. This style uses the principle of simple lines and shapes, highlighting the geometric patterning that’s needed to achieve a physical representation of a human head or torso.

Her range consists of two types of work: Pieces made from clay and pieces created from metal. The clay pieces have a soft look and feel, while the metal sculptures display simple, fine lines and curves that accentuate this feeling. The neutral colours she uses throughout the range complements the subtle look she aims for.

Kristiina attaches great value to quality and the authentic aspect of art and design and, therefore, carefully sculpts each piece by hand. It is evident that Kristiina takes her time with each sculpture, ensuring she explores every line and curve carefully. She mostly allows the material, either clay or metal, to guide her in the soft rounding of shape and the subtle lines seen in each piece.

These pieces are ideal centrepieces for any space. It’s subtle colours, mixed with the stronger and harder characteristics of the materials sh

I found my object in the Colors Across Asia exhibition; I was drawn to it because of its high concentration of ceramic pieces. I was immediately interested in Object, created by Japanese artist Nagae Shigekazu. It appears to be a sheet of delicately folded white paper, but is in fact created out of clay. Based upon the white, translucent nature of the object, I would say that it is porcelain. The use of porcelain makes it appear light and effortless. Also, since porcelain is lighter in weight than stoneware it would be able to stay structurally sound and the likelihood of it breaking because of strain on the edges of the piece is lower. Object is covered in a clear glaze, adding to the lightness of the porcelain. It is incredibly clean and white. This is a contemporary piece of art; it was created in 1992. It does not appear to have any functional purpose so I conclude that this was made for aesthetics.

Object appears to be created by a single slab of porcelain. There is no evidence of any additions and it is perfectly the same thickness throughout. Running down the center of the object is a single crease line, mimicking a fold in a piece of paper that is later reopened. The edges have a slight flick at the end adding to the weightlessness and delicacy. The underside of the object is completely open and smooth.

Since I don’t think that this could have been created as a free standing structure while still in the wet clay stage, I think that there was once a cylindrical object in the middle acting as the support while the artist shaped the clay. Because the piece has a flat top, it also suggests that it was shaped on something that was cylindrical.

There is a subtly of pattern only on the top surface of the object. It is a variety of dots arranged in a grid like pattern. The dots are varying sizes. These dots a very slightly raised above the flat surface. Because of how perfectly spaced and aligned the dots are I would think that they were made with

Founded in 1907, Japan Society will soon celebrate its centennial anniversary. 'Contemporary Clay' is, perhaps, a fitting show to mark such an occasion, as the works reveal themes and contradictions that have impacted Japanese artists for decades, and brings the history of Japanese ceramics up to the present day. Japan's history is rooted in tradition, with respect for tradition a main feature of the arts. In Japanese society, art, craft and everyday life have mingled to such an extent that form and function seem inextricably linked. Historically, nearly all Japanese pottery was made with a utilitarian objective. Vessels for storage, tea and tableware, and ceremonial figures predominated. Divorced from function, ceramic production did not have a precedent for post-war artists. But like Japanese people in general at the close of World War II, artists were shaken and began to question the place - if, indeed, there was a place - of tradition in their lives. Still, the notion of craftsman as creative artist remained strong throughout society.

Ceramic production in Japan dates back to prehistoric times. Over time, more advanced techniques from China and Korea were introduced but Japanese pottery retained a characteristic simplicity and catered to a taste for natural shapes and colours, and delicate forms. Major centres of ceramic production were established during the Kamakura period (1192-1333) at Bizen, Echizen, Seto, Shigaraki, Tamba and Tokoname, the so-called 'six old kilns'. By the later 16th century, Japanese potters had earned great reputations and, unlike their peers elsewhere, could achieve celebrity status. Family workshops thrived on commissions from tea masters, wealthy patrons and government officials, and young potters were content to continue the work of their ancestors.

After World War II, traditional pottery centres experienced a boom as the government sought to strengthen the national econo