≫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
|2021||Woman’s association of ceramic art 2021 / Kyoto, Japan|
|2019||Cluj International Ceramics Biennnale 2019 / Cluj , Romania|
|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|
|2021||ITSLIQUID INTERNATIONAL CONTEST 8th EDITION|
ーPrize of one International Contemporary Art Exhibition in Venice / Venice, Italy
|2010||The 44th Female Ceramic Art Competition|
ーChief of the NHK Kyoto Broadcast Station” Prize/ Kyoto, Japan
Solo & Group exhibition
|2022||Re-flaming (Group Show)/ YOD gallery / Osaka, Japan|
|2022||Contemporary Japanese Ceramics (Group Show)/ The guest at Gallery Hioco / Paris, France|
|2022||日月記 JITSUGETSU-KI Group Exhibition) / Sesshin-in temple / Fukuoka, Japan|
|2022||Tsukuba Art Cycle (Group Exhibition) / Ibaraki, Japan|
|2021||” Whereabouts vol.2″ Chisato YASUI Solo exhibition / Inter Flower Designs / Ibaraki, Japan|
|2021||“Luxuriant ” Chisato YASUI solo exhibition / ARTISAN pâtissier ITABASHI / Ibaraki, Japan|
|2021||Harmony (Group Exhibition) / Gallery Patrick & Ondine Mestdagh / Brussels , Belgium|
|2021||RE: OPENING CEREMONY (Group Exhibition)/ A Lighthouse called Kanata / Tokyo , Japan|
|2020||“Whereabouts” Chisato YASUI Solo Exhibition / SEKISHO Corporation / Tsukuba, Ibaraki|
|2020||KOGEI-KAIRO – Craft Passageway Solo exhibition/ Now-Tori / Ishikawa, Japan|
|2020||CHISATO YASUI solo exhibition “Water vain – Bloodline” / YUUKI SUWA Shrine, Ibaraki, Japan|
|2019||The 8th Great Anachronism exhibition _Autumn (Group exhibition )/SHIMAZONO-house(Important Cultural Property), Tokyo, Japan|
|2019||The 7th Great Anachronism exhibition _Summer (Group Exhibition) /SHIMAZONO-house(Important Cultural Property), Tokyo, Japan|
|2019||International Artists Exchange Show U.S.-Japan The 5th CROSSCURRENT (Group Exhibition)/ @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”(Group Exhibition) /@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” (Group Exhibition) /@art gallery closet/ Tokyo, Japan|
|2015||The joint exhibition “ZARARI,NYURURI,POTARI” (Group Exhibition) /@art gallery closet/ Tokyo, Japan|
|2015||The solo exhibition “stroke your skin” /@Silver Shell art gallery/ Tokyo, Japan|
|2023||BRAFA ARTFAIR 2023 / Galerie Hioco Asian Art / Brussels , Belgium|
|2022||KOGEI ARTFAIR KANAZAWA 2022 / atelier & gallery creava / Ishikawa, Japan|
|2022||Brussels Winter Art Fair 2022 / Gallery Patrick & Ondine Mestdagh / Brussels , Belgium|
|2022||TEFAF Maastricht 2022 / A Lighthouse called Kanata / Maastricht, the Netherlands|
|2021||ArtO21 / A Lighthouse called Kanata / Shanghai , China|
|2021||BORDERS ARTFAIR in Venice / The ROOM Contemporary Art Space|
|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|