開催中の個展
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これまでの個展

松崎健 -民芸の里・益子から窯変へ-

2019年6月14日 - 2019年6月22日

伊賀のビードロ・信楽の緋色・備前の胡麻・丹波赤ドベ焼
焼締にはいろんな炊き方があるが、それらに頼らず、独自の焼き方を追求して、たどり着いたのが、
三千束の薪と50表の炭で八日間焼成する窯変である。
焼き物には一焼き、二土、三細工、穴窯を焚く以上焼きが全てである。
焼は、自分の焼きができるまで、土が自ら表現するまで何回でも焼く。そしてそれが私の意匠となる。
土は、原土を大事にしたい、窯のどこに置くかで表現が変わる。その場所を探すのが楽しい。
細工は、あくまでも土のなりたい形を創る。土の性格を知る事である。
私の五十年の作陶生活から生まれた窯変灰被・耀変志埜である。

松崎健



松崎健が陶芸家を志して、早や半世紀になる。陶芸家・島岡達三に師事したのは大学卒業後。5年間の弟子時代に、技術のみならず、「陶芸に対する考え方、ものを創るときの姿勢、哲学的なものが大切だということ」など、多くのことを学んだ。
独立して15年目に、大きな転機が訪れる。民芸、益子、それまでに作り上げたオリジナルなもの、その全てを捨てて織部に挑戦したことだ。松崎は、織部に惹かれた理由を「織部釉そのものではなく、織部の思想と様式だった」と語る。それは、表面的な形や意匠ではなく、それらを創り出している思想、本質に惹かれたということだ。この陶芸家としての姿勢を、松崎は師・島岡達三から学んだ。以後、造形と共に窯変が表現の一つとなり、「窯変灰被り」「耀変志埜」「窯変曹達」「金志埜」「鐵志埜」といった独自の窯変を展開する。
窯変の美を生み出すためには、「土」と「焼き」が大事である。大胆なフォルムや轆轤の力強さは土から生まれる。しかし、「細工はあくまで土のなりたい形に従う」という。同じ土を用いても窯のどこに置くか、焼き方一つで景色が変わる。松崎は、3000束の薪と50俵の炭で8日間焼成し、独自の窯変意匠を生み出す。その場所を探すのが楽しいと語る。「土の限界、窯との対話、炎との共演の中から窯変が生まれる。私は常に、見えない何かを求めて窯を焚く」とは、常に本質を問い続ける陶芸家・松崎健の真摯な作陶姿勢である。

森 孝一(美術評論家・日本陶磁協会常任理事)



There are numerous distinctive types of yakishime (high-fired unglazed ceramics), different areas using different techniques-the glass-like bīdoro of Iga, the scarlet of Shigaraki, the yellow goma of Bizen, the akadobe red slip of Tamba, etc.-amd searching for my own method, I finally arrived at a technique that uses 3,000 bundles of wood and 50 bags of charcoal to fire the kiln for 8 days. In descending order of importance, the various factors in creating pottery are said to be: 1. the firing, 2. the clay and 3. the shaping, but when using an anagama kiln, the firing is everything. To develop my own style of firing, to be able to express myself through the clay, required the experience gained from numerous firings. The final result became my own style. Regarding the clay, I think that the unrefined clay is most important and its positioning within the kiln will also create further differences in its appearance. I enjoy searching for the best places to place the works. When creating the pots, I always concentrate on the shapes that the clay wants to form. It is important to understand the character of the clay. The fruits of my fifty-year career as a potter can be seen in my yōhen haikatsugi (natural ash glaze) and yōhen shino.

Ken Matsuzaki



Half a century has passed since Ken Matsuzaki first decided to become a potter. After graduating from university he studied under Tatsuzō Shimaoka and during his five years as an apprentice he learned not only technique but also many other things, including, ‘how to think about pottery, the correct stance to take when creating a work and the importance of philosophy’.
Fifteen years after he began work as an independent potter, his style underwent a major change. He turned away from everything he had done prior to that?folk art, for which the town of Mashiko is so famous, and his own original works?in order to focus oribe ware. Speaking of his attraction to oribe, he said: ‘It is not the glaze itself so much as the style and ideology behind oribe.’ In saying this he was not referring to the superficial shape or design of the work, rather he was drawn to its essence, to the philosophy it sprang from. This attitude towards pottery is something that he learned from his mentor, Tatsuzō Shimaoka. After this change, form and the unforeseen changes in color that occur during the firing, (known as yōhen in Japanese), came together to form unique styles to which he gave the names, ‘yōhen haikaburi’, ‘yōhen shino’, ‘yōhen soda’, ‘gold shino’, and ‘Iron shino’.
The most important factors when aiming to create the beauty of yōhen are the clay and the firing. Bold forms and powerful traces of the wheel both result from the clay. However, when working, he ‘concentrates on creating the shapes that the clay wants to form’. Even when using the same clay, the position of the works in the kiln and the way in which they are fired will effect their appearance. Matsuzaki developed his own technique to produce yōhen, employing three thousand bundles of wood and fifty bags of charcoal, firing the kiln for a period of eight days. He says that he enjoys looking for the ideal spots within the kiln to place his works. ‘Yōhen is springs from the limits of the clay, a dialogue with the kiln and a joint performance with the fire. I search for some invisible factor whenever I fire my kiln.’ From this, we can catch a glimpse of the earnest attitude of the potter, Ken Matsuzaki, as he continues to strive for the true essence of his art.

Koichi Mori
Art critic, executive director of the Japan Ceramics Society