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Collective Identity: The Legacy of Apprenticeship Under Toshiko Takaezu
April 12, 2019 @ 6:00 pm - 8:00 pm
Takaezu treated life with a sense of wholesomeness and oneness with nature; everything she did was to improve and discover herself. She believed that ceramics involved self-revelation, once commenting, “In my life I see no difference between making pots, cooking and growing vegetables… there is need for me to work in clay… it gives me answers for my life.” When she developed her signature “closed form” after sealing her pots, she found her identity as an artist. The ceramic forms resembled human hearts and torsos, closed cylindrical forms, and huge spheres she called “moons.” Before closing the forms, she dropped a bead of clay wrapped in paper inside, so that the pieces would rattle when moved.
She was once asked by Chobyo Yara what the most important part of her ceramic pieces is. She replied that it is the hollow space of air within, because it cannot be seen but is still part of the pot. She relates this to the idea that what’s inside a person is the most important.