安永正臣 Masaomi Yasunaga 畫冊 by hsiaochunchang

安

永

正

臣

Masaomi Yasunaga

「こんなん好きやろ」と、ある日、海に散歩に行った妻が小動物の骨をお土産に持ち帰った。例えば、せみのぬけ殻、土蜂の巣、ローマングラス、存在を忘れさられたように佇む廃工場生々しく生を全うし、その存在意義が抜けおち、風にさらされ、全てに忘れられて、それでも在り続ける空っぽな存在。そんなものたちから感じる、儚く切なくそれでいて美しいそんなものが作りたいなと思っています。

「這些該是你喜歡的吧」一天，去海邊散步的妻子帶回來一些小動物的骨頭，作為紀念。有 : 蟬蛻、土蜂的巢，羅馬玻璃 ...，彷彿是被遺忘的廢棄工廠，看上去毫無意義，卻又栩栩如生 ; 暴露在風中，完全被忘記，卻又仍然持續的、空置的存在。從這些空置的空間裡，感受到虛幻、悲傷、卻又美麗動人。我想創作的就是這樣的作品。 —— 安永正臣

Masaomi Yasunaga (Born 1982, Osaka Japan. Living and working in Iga, Mie Prefecture, Japan) In a gesture which has little precedence, Masaomi Yasunaga removed clay from his ceramic forms, and builds his sculptures using glaze as the primary structural element. Yasunaga studied ceramics under Satoru Hoshino, a second-generation proponent of the avant-garde ceramic group, Sodeisha (in kanji, 走泥社 literally means, crawling through the mud). Founded in Kyoto in 1948, in the aftermath of WWII, Sodeisha broke away from long-established conventions of Japanese ceramics, resolving to create non-functional sculptural works. Continuing with this ethos, Yasunaga’s sculptures of vessels may or may not be functional, and explore an instable boundary between functional and fine arts. By sculpting in glaze, Yasunaga’s works reimagine the use of ceramics’ conventional materials. Glaze, most commonly used to apply color, luster and finish onto the surface of clay-built ceramics, responds to different variables and often produces unexpected outcomes. Unlike clay objects which maintain their original form when fired in the kiln, Yasunaga’s glaze objects melt, so they must be buried in trays of sand, soil or rocks to retain their form. Once inside the kiln, the viscous molten glaze adheres to the surrounding earthen material. After firing and cooling, Yasunaga unburies his objects in a studio process which parallels the surprises of archeological excavation, and painstakingly removes the excess sand and rocks from the interstices of the objects. The resulting artworks range from smooth to heavily encrusted. Yasunaga’s presentation, which verges on camouflage, resembles the beds of stone from which the works emerge after the kiln. It also embraces the narratives which his objects conjure for most viewers; that the sculptures resemble artifacts excavated from the bottom of the ocean floor or buried underground amongst ancient ruins. As such, these objects, imagined to have been lost for vast periods

of time and now found, retain the global vessel styles and handiwork of imagined ceramics makers (other than Yasunaga) from eons before. Some objects seem whole, while others seem broken, arousing phenomenological thinking reflected in the artwork’s titles, all which infer something that was, or is no longer; Sai ( 砕 ) means to break or collapse, Tokeru Utsuwa ( 溶ける器 ) translates to melting vessel, Dakkaku ( 脱穀 ) is defined as threshing, and Hako No Kokkaku ( 箱の骨格 ) signifies a skeleton. Feeling that with new life or death, comes a moment when many things may change, Yasunaga responded to the passing of his grandmother ten years ago by incorporating her cremated bone remains into the glaze of his handcrafted funerary urns. This gesture compelled him to appreciate the emotional and expressive potentials in ceramics. Three years ago, with the joy of the birth of his eldest son, Yasunaga began to hybridize his empty container forms with depictions of animals from around where he was born. Rendered in Yasunaga’s earthen materials, these Empty creatures conjure associations to numerous histories and places, and collectively form an unlikely geologic menagerie. Yasunaga’s exploratory approach to ceramic making delves deeper than its experimentative application of materials, his sculptures give perspective to the human relationship to time.

安永正臣

( 生於 1982, 日本大阪。目前生活及工作於日本三重縣伊賀市 )

在幾乎沒有人嘗試過的清況下，安永正臣從他的陶瓷形式中去除粘土，並使用釉作為主要結構元素來建造他的雕塑。安永正臣是向 Satoru Hoshino（星野曉，日本陶瓷藝術家）學習陶瓷的。走泥社（現代日本陶瓷運動的名稱）於 1948 年在京都成立，在第二次世界大戰結束後，脫離了歷史悠久的日本陶瓷大會，決定創作非功能性的雕塑作品。延續這種精神，安永正臣的雕塑作品不一定可以使用，而是探索功能性與藝術性之間不穩定的界限。經由釉料雕塑，安永的作品上看得出他對陶瓷的材料有了新的構想。釉料，最常用於在陶瓷表面上塗上顏色，對不同的變量做出反應，並經常產生意想不到的結果。安永的釉料經窯燃燒會融化，與粘土雕塑不同，因此必須將它們埋於沙中，土壤或岩石的托盤中以保持形狀。一旦進入窯內，粘稠的熔融釉料就會粘附在周圍的土製材料上。經過窯燒和冷卻後，安永看見作品成果的感覺與考古挖掘的驚喜很像，取出後再細心的將物體空隙中多餘的沙子和岩石精心地去除。由此產生的藝術作品從光滑到嚴重侵蝕感的都有。安永的作品像是有著偽裝的保護色，類似於窯後出現的石床。他的作品為大多數觀眾帶來想像空間 ; 這些雕塑類似於從海底挖出的文物或埋藏在古代遺址中的地下文物。因此，這些被認為已經遺失了很長一段時間而現在重新發現的物體，從萬年以前就保留了全世界各種器物的風格及過往製陶師的作品（除了安永之外）。有些物體看似完整的，有些則是破碎的，引起現象學思維反映在藝術品的標題中，所有這些都推斷出某些已經或不再存在的東西 ;Sai（砕）意味著破裂或崩潰，Tokeru Utsuwa（溶ける器）轉化為熔化容器，Dakkaku （脫谷）定義為脫粒，Hako No Kokkaku（箱の骨格）表示骨架。新生命的誕辰與死亡，促使許多事情可能發生變化，安永想起十年前他的祖母過世，將她的火葬骨骸加入到他手工製作的陪葬甕的釉中。這種方式迫使他欣賞陶瓷中的情感和表達潛力。三年前，伴隨他長子出生的喜悅，安永開始將他的空容器形式與他出生地周圍的動物骨骸混合。這些空虛生物在安永的土製材料中呈現，與許多歷史和地方聯繫在一起，共同組成了一個不太可能存在的地質動物園。安永對陶瓷製作的探索性方法比其材料的實驗應用更深入，他的雕塑為人類與時間的關係提供了不同的視角。

無題｜ Untitled 73×55×77 釉薬 / 色釉薬 / 色化粧 / 花崗岩 / カオリン / ガラス / キルンウォッシュ

Glaze/Colored glaze/Colored slip/Granite/Kaolin/Glass/Kiln wash 2021

石の器｜ Stone vessel 55×55×56 釉薬 / 色化粧 / カオリン

Glaze/Colored slip/Kaolin 2021

Untitled 28×28×24.5 釉薬 / 色釉薬 / 色化粧 / 花崗岩 / カオリン

Glaze/Colored glaze/Colored slip/Granite/Kaolin 2021

クラウン｜ Crown 20×20×23 釉薬 / 色釉薬 / 色化粧 / カオリン

Glaze/Colored glaze/Colored slip/Kaolin 2021

熔ける器｜ Melting vessel 19×19×26.5 釉薬 / 銅 / カオリン

Glaze/Copper/Kaolin 2021

Untitled 17×17×38.5 釉薬 / 色化粧 / 花崗岩 / カオリン

Glaze/Colored slip/Granite 2021

Empty creature 21.5×8.5×19.5 釉薬 / 銅

Glaze/Copper 2021

熔ける器｜ Melting vessel 19×19×26.5 釉薬 / 銅 / カオリン

Glaze/Copper/Kaolin 2021

熔ける器｜ Melitng vessel 45×34.5×47 釉薬 / 銅 / ガラス / コーティング剤 / カオリン

Glaze/Copper/Glass/Kiln wash/Kaolin 2021

殻｜ Molted shell 30×30×34 釉薬 / 赤土

Glaze/Red clay 2021

塵積｜ Accumulation 23×23×22 釉薬

Glaze 2021

殻｜ Molted shell 17×17×28.5 釉薬

Glaze 2021

殻｜ Molted shell 13×13×22.5 釉薬

Glaze 2021

空虚な生き物｜ Empty creature 15×7.5×12.5 釉薬 / 銅 / 磁器土

Glaze/Copper/Slip 2021

空虚な生き物｜ Empty creature 20×8×9.5 釉薬 / 色化粧

Glaze/Colored slip 2021

空虚な生き物｜ Empty creature 18×8×17.5 釉薬 / 色釉薬 / 色化粧

Glaze/Colored glaze/Colored slip 2021

空虚な生き物｜ Empty creature 16×7.5×10 釉薬 / 銅 / チタン

Glaze/Copper/Titanium 2021

空虚な生き物｜ Empty creature 32×14×14.5 釉薬 / 銅 / 磁器土

Glaze/Copper/Slip 2021

砕｜ Crumbling 26.5×26.5×15.5 ガラス / 銅

Glass/Copper 2021

砕｜ Crumbling 18×14.5×13 ガラス / 銅

Glass/Copper 2021

砕｜ Crumbling 18.5×18.5×12 ガラス / 銅

Glass/Copper 2021

砕｜ Crumbling 17.5×17.5×11.5 ガラス / 銅

Glass/Copper 2021

砕｜ Crumbling 15×15×14 ガラス / カオリン / 銅

Glass/Kaolin/Copper 2021

Biography Born in Osaka Prefecture in 1982. Lives & works in Iga-shi, Mie Prefecture While at University, Yasunaga established his creative direction at the laboratory of Satoru Hoshino, a coterie of the avant-garde ceramic group “Sodeisha”. While pottery is often made of clay and baked in a kiln, Yasunaga takes the form of pottery using glaze for his creations instead. Yasunaga masters creativity by combining unique raw materials such as feldspars, glass and metal powders, with his own methods such as creating glazed vessels with increased viscosity which are then pit fired in sand.

1982

Born in Osaka

1988

Moves to Nabari, Mie Prefecture

2000

Admission to the Osaka Sangyo University Department of Environmental Design

2003

Start a pottery to enter the Satoru Hoshino laboratory

2006

Receives Masters Degree in Environmental Design from Osaka Sangyo University

2007

Establishes a pottery studio in Iga

2010

Becomes a creative resident at The Shigaraki Ceramic Cultural Park 2020

2011

Newly builds a firewood kiln

2013

Becomes a creative resident at ARCTICLAY 3rd SYMPOSIUM in Posio, Finland

2014

Becomes a creative resident at National Tainan University of the Arts

2020

Artist-in-residence at the Shigaraki Ceramic Cultural Park

Selected group Exhibitions 2020 Sterling Ruby and Masaomi Yasunaga, Nonaka-Hill, Los Angeles

Permanent Installations, Museum and Public Collections Ariana Museum, Geneva, Switzerland The Museum of Fine Arts, Houston, USA

Selected Solo Exhibitions 2021

Masaomi Yasunaga, Lisson Gallery, East Hampton

2020 Empty Parade, wad Cafe, Osaka To things that exist, to things that don't exist, gallery YDS, Kyoto Yasunaga Masaomi: Contemporary Artifacts, Utsuwa Note, Saitama Empty Landscape, Libby Leshgold Gallery, Vancouver 2019

Empty Things, complete Works, Geneva Masaomi Yasunaga: A Shadow of the Eternity, Utsuwakan, Kyoto Masaomi Yasunaga, Nonaka-Hill, Los Angeles

2018

Memory of Orient, Gallery Utsuwa Note, Kawagoe, Saitama

2017

Masaomi Yasunaga Exhibition, Garb Domingo, Okinawa arid landscapes, pragmata, Tokyo Ceramics of Masaomi Yasunaga, Utsuwa Kyoto Yamahon, Kyoto Masaomi Yasunaga Exhibition, Gallery uchiumi, Tokyo

2016

Ceramics of Masaomi Yasunaga, Utsuwa Kyoto Yamahon, Kyoto Masaomi Yasunaga: Ceramics, Art Salon Yamagi, Osaka

2015

Ceramics of Masaomi Yasunaga, Utsuwa Kyoto Yamahon, Kyoto Masaomi Yasunaga: Ceramics, Art Salon Yamagi, Osaka Masaomi Yasunaga Exhibition: Production at Yaso and Daily Work”, wad, Osaka Masaomi Yasunaga Exhibition, Gallery Uchiumi, Tokyo

2014

Masaomi Yasunaga Exhibition, Gallery Utsuwakan, Kyoto Masaomi Ysunaga: Pottery Trilogy, Gallery Yamahon, Mie Prefecture Masaomi Yasunaga: Ceramics, Art Salon Yamagi, Osaka sand dunes, pragmata, Tokyo Hollow, Pioa Piao Gallery, Taipei, Taiwan The corpse, National Tainan University of the Arts, Tainan, Taiwan

2013

Ceramics of Masaomi Yasunaga, Utsuwa Kyoto Yamahon, Kyoto Masaomi Yasunaga: Pottery Exhibition – Yakimono Biyori, TRI Gallery Ochanomizu, Tokyo Masaomi Yasunaga: Ceramics, Art Salon Yamagi, Osaka Masaomi Yasunaga Pottery Exhibition – Work by sand mold, and then”, Gallery uchiumi, Tokyo

經歷 1982 年出生於大阪府。在三重縣伊賀市生活和工作在大學期間，安永在前衛陶瓷團體 “Sodeisha” 的小圈子星野悟的實驗室確立了自己的創作方向。陶器通常由粘土製成並在窯中烘烤，而安永則相反地以釉料為媒材製作。他展現創造力地透過結合獨特的原材料（如長石、玻璃和金屬粉末），以他自己的方式增加粘度來創作釉面容器，並在沙子中進行坑燒。

1982

生於大阪

1988

搬到三重縣 Nabari

2000 大阪產業大學環境設計系入學 2003 開始陶器進入 Satoru Hoshino 實驗室 2006 獲得大阪產業大學環境設計碩士學位 2007 在伊賀建立陶藝工作室 2010

成為 Shigaraki 陶瓷文化公園的創意居民

2011

新建一座柴火窯

2013

成為芬蘭 Posio ARCTICLAY 3rd Symposium 的創意居民

2014

成為台南藝術大學的創意居民

2020 信樂陶瓷文化公園常駐藝術家

精選群展 2020 terling Ruby 和 Masaomi Yasunaga，洛杉磯野中山

永久性裝置、博物館和公共收藏瑞士日內瓦阿麗亞娜博物館美國休斯頓美術博物館

重點展歷 2021

【 Masaomi Yasunaga 】裏森畫廊 (Lisson Gallery)，東漢普頓

2020 【空遊行】瓦德咖啡館 (wad café)，大阪【對於存在的事物，對於不存在的事物】YDS 畫廊，京都【 Masaomi Yasunaga: 當代手工藝品】Utsuwa Note 器物店，埼玉【空景】利比·萊什戈爾德畫廊 (Libby Leshgold Galley)，溫哥華

2019

【空物全集】日內瓦【 Masaomi Yasunaga: 永恆之影】器館 (Gallery Utsuwakan), 京都【 Masaomi Yasunaga 】野中山畫廊 (Nonaka-Hill Gallery), 洛杉磯

2018

【東方記憶】Utsuwa Note 器物店，川越，埼玉，日本

2017

【 Masaomi Yasunaga 個展】週日裝扮陶器所 (Garb Domingo)，沖繩，日本【乾旱景觀】事物畫廊 (pragmata gallery)，東京，日本【 Masaomi Yasunaga 的陶器】宇都和京和山本，京都，日本【 Masaomi Yasunaga 展覽】內海畫廊 (Gallery uchiumi)，東京，日本

2016

【 Masaomi Yasunaga 的陶器】宇都和京和山本，京都，日本【 Masaomi Yasunaga 的陶器】山城藝術沙龍，大阪，日本

2015

【 Masaomi Yasunaga 的陶器】宇都和京和山本，京都，日本【 Masaomi Yasunaga 的陶器】山城藝術沙龍，大阪，日本【 Masaomi Yasunaga 展覽：產於 Yaso 和日常工作】wad，大阪，日本【 Masaomi Yasunaga 展覽】內海畫廊 (Gallery uchiumi)，東京，日本

2014

【 Masaomi Yasunaga 展覽】器館 (Gallery Utsuwakan)，京都，日本【 Masaomi Ysunaga：陶器三部曲】三重縣雅馬洪畫廊 (Yamahon 畫廊 )，日本【 Masaomi Yasunaga：陶器】山城藝術沙龍，大阪，日本【沙丘】事物畫廊 (pragmata gallery)，東京，日本【空心】一票人票畫空間藝廊，台北，台灣【屍體】國立台南藝術大學，台南，台灣

2013

【 Masaomi Yasunaga 的陶器】宇都和京和山本，京都，日本【 Masaomi Yasunaga：陶器展 – 來自陶器】TRI 畫廊御茶水，東京，日本【 Masaomi Yasunaga：陶器】山城藝術沙龍，大阪，日本【 Masaomi Yasunaga 陶器展 – 以沙模製作】內海畫廊 (Gallery uchiumi)，東京，日本

Masaomi Yasunaga ｜安永正臣個展

Publication ｜出版一票人票畫空間＆畫庫

PIAO PIAO GALLERY

OCT. 2021

Location ｜展覽空間一票人票畫空間＆畫庫

PIAO PIAO GALLERY 台北市大安區永康街 44 號 &63-1 號