Ippodo Gallery eagerly anticipates the opening of Yukiya Izumita's fifth solo exhibition of his iconic ceramics at our New York gallery. The artist lives and works in Iwate Prefecture along the northern Japanese coast; his artworks reflect the magnificent scenery of his home. Izumita sat down with the gallery to answer four questions about his inspirations, methods, and artistic trajectory. The following is a translation from the original Japanese. The artist travels from Japan to join the gallery opening reception on September 12, 2024.
Question 1: Seasonal landscapes are a major inspiration, as you’ve stated in the past. For this new series of artworks—which have been mentioned as a ‘turning point’—please describe those landscapes that gave birth to these forms; was it in the snowy cold of winter, or as the ice started to thaw and snow began to melt, or were you in the light of the bright spring sun?
Yukiya Izumita:
In my case, I feel a strong inspiration for winter landscapes. Snow surface blown by the wind like sand dunes and waves rushing in repeatly. I am attracted to the way it looks like powdered sugar that falls on dry strata. Into this group of works I tried to capture the power of spring budding as a spread of energy that I see in a winter landscape where you don't feel much of life.
Question 2: Your clay is collected from the fields abutting the coastline, and so they have many minerals within. Please describe how you settle on clay; what sort of attributes are important in your works? Do you use different clay deposits for different styles? What is the effect of the minerals in your work, and to that end, is there a specific wood used to fire your art works?
YI:
Basically, the soil is nearby and I use it in various ways;
It's my style. I prefer rough soil.
Even if the soil is not easy to work with, I find it interesting and gratifying to be involved in making full use of knowledge and my own experiences.
Question 3: Please share a bit about the engobe white slip glaze that you apply to most all your ceramics. What is the intended effect? In Western ceramics, this method is typically applied in thick layers, but you keep the application minimal, why is that? Please share a bit about this glaze from a creation standpoint: do you make it yourself? Do you also make the manganese dioxide and red iron oxide glazes yourself? How did you discover this method?
YI:
I apply white makeup thinly or heavily.
Three types of soil are also used for the base mixed in a marbleized fashion. By applying oxide, wiping it away and firing, white slip, soil and oxide together react in a complex way and show their own expressions. This “scenery”is arrived at after many firing experiences.
Question 4: Again, you mentioned that this exhibition is a ‘turning point’. Please first tell us about another turning point in your life; your decision to pursue ceramics. When you began, did you always have a vision of ‘lightness,’ or did that develop during your practice? How is this moment now a similar ‘turning point’? Continuing down the path of ceramics, are you excited about discovering new forms, such as the wall hanging piece?
YI:
There are two major turning points.
The first was when I decided to become a potter from a salaryman desiring to do what I really wanted to do. When I decided that I wanted to make it my life's work, it gave me an
opportunity to look deep into myself examining my own thoughts and feelings.
The second was when I was into my eighth year as a ceramic artist and won the Grand Prix at a national competition. Until then, I had mainly worked on vessels, but this turning point brought onto me many opportunities to create sculptural work. It's always exciting and exhilarating to create new work.
Every time I make a piece of work, I feel joyful and elated. This is the
experience that has never changed since my childhood.
Photos courtesy of Hitomi Sato.