Takuro Kuwatas work is rooted in Japanese technique and history, One of which is the traditional technique of ishi-haze or stone explosion, in which stones are allowed to overheat in the kiln to the point where they rupture and distort. Conventionally, this technique is used in the making of traditional Japanese tea ceramics; however, Kuwata uses his oversized rocks to distort, melt or explode within the firing process. Kuwata also employs kairagi, another famous Japanese technique in which is used to create imperfections within the glaze, as a result the glaze shrinks and cracks. Kuwata is unconventionally drawn to the imperfections that are produced from these processes and implements them to their extreme.
The uncertainty of the method allows Kuwata to stand back and let the firing and material processes take control over the resulting form, enhancing the organic nature and dysfunctionality of his objects.It is the oozing glaze and tactile nature of Kuwata’s work and his material understanding in relation to his sense of identity and heritage that originally drew me in.
Kuwata’s practice is firmly rooted in Japanese history and aesthetics. The characteristics of the Japanese philosophy wabi-sabi, which focuses on imperfect and incomplete beauty, including asymmetry and asperity, are all evident in Kuwata’s work.
Born in Hiroshima, but removed from the aftermath of World War II, Kuwata is offering a contemporary view of postwar Japanese anxiety as well as demonstrating a correlation between Japan’s recent natural and social disasters.
As a result of the artist’s history and past, The natural world plays an active role in Kuwata’s practice, with bursting stones and broken glazes acting as metaphors for erupting volcanoes and earthquakes, and even potentially the Hiroshima disaster that eludes his heritage, engendering beauty through destruction.