≫The reason why I continue to create
I want to discover the unknown matter that exists in a liminal state which lays unconscious somewhere in this world, and from it, bring out the “not-yet-identified” contexts through my work.
Many constructs intertwine in this world, such as countries, cultures, societies, race, and histories on which our lives are built upon.
However, I believe that there are fluid contexts that do not fit into the existing constructs. We humans are not yet able to express such fluid contexts through our languages, because they are uncategorizable. In this fluid state is where my work exists.
At the same time, in my daily life, I frequently experience emotions that do not fit into any obvious categories. But I can tune into these uncategorizable emotions more clearly as they become more audible during my creation process, especially when the clay is touching my hands. This, perhaps could also be called a “not-yet-identified context”.
I intuit that this “not-yet-identified context” within me is connected to that of the world. I believe that these unseen, non-verbalized contexts are essential components of the visible world, like dark matter.
I want to dig deep into the “not-yet-identified context” within myself and to deconstruct it, in order to create a new space that allows this context to exist. In other words, my process of creation itself can be the contextualization of the unknown.
≫The reason why I choose ceramic as the medium.
The reason why I mainly work with ceramic is because it is a material that allows me to maintain my flexibility to follow my instincts as I create. When I go to my studio, I consciously allow space between myself and society, and when I interact with clay, I am able to follow my intuition, feel the world at will, and also open my senses to the “not-yet-identified contexts”.
In the process of “coil forming” which is a method of forming ceramics, it is possible to shift the axis of a form during the creation process, to cut and separate a form into two or three or more, to combine completely different forms, and to reverse top to bottom, and flip left and right. The technique of “coil forming” goes well with the “intuition” and “spontaneity” that I need when I endeavor to discover the “not-yet-identified context”.
In addition, I am fascinated by the fact that in ceramics, the role of the narrator shifts from myself to the work; I breathe my emotions into the clay during the creation process, and during firing the emotions evaporate and what is left is the visible and tangible context of “the not-yet-identified”.
The work which is in a state of clay eventually leaves my hands and transforms into ceramic in the kiln, passing through the same temperature range as magma. Opening the door of the kiln is like the process of childbirth, cutting the umbilical cord of a baby. In the moment that the ceramics touches my hands, the work itself reveals the unidentifiable and speaks to us of a “new context”.
Also, exhibiting my ceramic works means that this new context will intermingle with existing constructs, which allows me to observe how the “not-yet-identified” realm connects to the tangible world. It is my hope that by encountering the work, the “not-yet-identified” context resonates within the beholder and allows them to discover new contexts of their own. By doing so, I believe that the “not-yet-identified” contexts in me and that of the world will partially overlap, and both the beholder and I will be able to confirm its existence as a new context that can be shared with others.
2007 University of TSUKUBA Undergraduate School of Art and Design
2010 Master’s Program in Art and Design, Graduate School of Comprehensive Human Sciences, University of TSUKUBA
Award & selected exhibition
2019 ARTROOMS fair London 2019 , Single work section/ London, The United Kingdom
2018 Art collaboration Tsukuba/ Ibaraki, Japan
2018 KAGAWA YAMANAMI Art Festival / Kagawa, Japan
2018 ARTROOMS fair Roma 2018 , Room section/ Roma, Italy
2017 12th DAIKOKUYA Contemporary Art Award Exhibition / Tochigi, Japan
2016 The 50th Female Ceramic Art Competition / Kyoto, Japan
2015 The 4th “TENSAI 108” At DAIHONZAN ZOJO Temple in 2015 /Tokyo, Japan
2014 The 48th Female Ceramic Art Competition / Kyoto, Japan
2013 The 47th Female Ceramic Art Competition/ Kyoto, Japan
2011 The 13th Tokyo-New York Friendship Ceramic Competition/ New York, U.S.A
2011 The 45th Female Ceramic Art Competition/ Kyoto, Japan
2010 The 46th Kanagawa Art Exhibition 2010 / Kanagawa, Japan
2009 YOUNG GUNS , Australian Ceramics Triennale / Australia200
2010 The 44th Female Ceramic Art Competition, “Chief of the NHK Kyoto Broadcast Station” Prize/ Kyoto, Japan
Solo & Group exhibition
2020 KOGEI-KAIRO – Craft Passageway / Ishikawa, Japan
2020 CHISATO YASUI solo exhibition “Water vain – Bloodline” / YUUKI SUWA Shrine, Ibaraki, Japan
2019 The 8th Great Anachronism exhibition _Autumn / SHIMAZONO-house(Important Cultural Property), Tokyo, Japan
2019 The 7th Great Anachronism exhibition _Summer /SHIMAZONO -house(Important Cultural Property), Tokyo, Japan
2019 International Artists Exchange Show U.S.-Japan The 5th CROSSCURRENT / @Tokyo Metropolitan Museum, Japan
2018 “Thinking of Living and Art ”CHISATO YASUI solo exhibition /@Agre design office /Tokyo, Japan
2018 The joint exhibition “OHAIRI – Please come here” /＠Pace around gallery / Nagano, Japan
2018 “CHISATO YASUI ceramic solo exhibition” /＠SHUYU gallery/ Tokyo, Japan
2017 The joint exhibition “Something has throbbed, then it’s spilled off” /＠art gallery closet/ Tokyo, Japan
2015 The joint exhibition “ZARARI,NYURURI,POTARI” /＠art gallery closet/ Tokyo, Japan
2015 The solo exhibition “stroke your skin” /＠Silver Shell art gallery/ Tokyo, Japan
2020 Art Space Link Art Fair in Kanazawa / atelier & gallery creava / Ishikawa, Japan
2019 Pavi Art Fair / UFOFABRIK / Pavia, Italy
2019 Hybrid Art Fair / UFOFABRIK / Madrid, Spain