Nowadays ceramics is experiencing a renaissance as contemporary artists rediscover the potential of the medium. Its allure lies not only in its sensual and relatable properties but also in the experimental edge afforded by technical constraints, including firing breakages and the unpredictability of glazing. This shift has elevated clay and ceramics from mere crafts to art, with resulting artworks sought after by collectors and the subject of major museum exhibitions. In tandem with this resurgence, the discourse around ceramics has rapidly expanded incorporating new practices, processes, materials, methodologies and theories. Artists have embraced innovative approaches that mirror both the material reality and political urgency of our times. This includes on one hand the integration of technologies, and on the other, reflections on the contemporary state of today’s world.

Hiroshima-born ceramics artist Takuro Kuwata delves into Japan’s post-war anxieties and spiritual links to ravaged landscapes to reimagine the conventional Japanese tea bowl. Kuwata's work, deeply rooted in the essence of the tea ceremony that values being in the present moment, often exaggerates the features of these traditional wares. His artworks span a spectrum of sizes, ranging from pieces resembling tea bowls or chawan (vessels for tea preparation) to towering, grotesque forms exceeding two metres in height and one metre in width. Despite their divergence from the conventional notion of a tea bowl, these creations maintain a distinct point of reference. For many artists, the vessel or pot stands as the fundamental form of ceramics, serving as a foundational inspiration. Kuwata remarks, "Tea bowl is the one. However, the expressions and shapes are always different. I challenge myself to figure out what I can do and what I should do for each project."

Incorporating influences from the highly ritualised Japanese tea ceremony, Kuwata's creations evoke moments within the ceremony where participants are encouraged to admire the beauty of ceramic ware. However, despite the ceremony's emphasis on tradition, Kuwata's background as a member of Sodeisha, an avant-garde artistic group from Kyoto, shapes his perspective. Belonging to Sodeisha, a group committed to breaking free from conventional ceramics, Kuwata does not view the tea bowl as an aspiration but rather a starting point. Reflecting on this approach, he remarks, "Once you understand this framework, you can then begin playing outside the lines." He continues, "I don't have and don't think of a specific mission for myself. But, I believe it's important to express oneself naturally, and it would reflect the moment we live in."

Kuwata’s studio is located in the Mino region, the area of Japan that is today southern Gifu Prefecture. Kuwata comments, "Gifu Prefecture, where my studio is located, has a long history of producing ceramics. The traditional aesthetic sense of the tea ceremony has been preserved and developed in this area. However, there is also a culture of mass-produced and industrial ceramics that co-exist at the same time. Being in this environment, I am inspired to think about how I can express myself as an artist in this modern age.” Local clays and rocks sourced from the mountains near his studio become integral components in his artistic endeavours. In this melding of tradition and contemporaneity, Kuwata's work not only pays homage to the region's ceramic heritage but also seeks innovative ways to navigate the complexities of the present artistic landscape.

Employing the traditional Japanese pottery technique of ishi-haze, or stone explosion, Kuwata introduces a distinctive element to his ceramic creations. Traditionally, this technique involves the addition of small stones to a glaze, which, under extreme heat and pressure of the kiln, erupts, puncturing the surface of the vessel. Kuwata, however, diverges by opting for oversized pebbles and rocks, deliberately distorting the shapes of his pieces. In this innovative process, the chosen stones undergo an intense transformation in the kiln. As they overheat they explode and melt, giving rise to Kuwata's unique and distorted ceramic designs. This results in unexpected outcomes, as the ceramics become fractured, shift, or even sink into themselves.

Kuwata's glazing methods draw inspiration from the traditional kairagi, a form of milky white glazed Shino ware rooted in the Momoyama period (1574-1615) when the tea culture was developed. Kairagi, characterised by intentional glaze shrinkage, features a thick glaze that cracks and repels, revealing the clay body beneath. Kuwata employs kairagi to craft highly textured and unconventional surfaces for his objects, resulting in crackled and mottled finishes that expose the clay below. The process can be compared to the fossilised layers unveiled when natural stones break. Reflecting on it, Kuwata states, “My work results from ideas conceived during the process of handling the materials. The materials themselves remind me of staying close to the environment and being in the present; the moment I am in at the time."

The artist comments, “Kairagi and ishi-haze are two traditional pottery techniques that are familiar and practised in Gifu Prefecture where my studio is located. Originally, these were accidentally coming out during the pottery process. According to tradition, a tea master defined these material reactions as aesthetic expressions, and after that people started to use these as pottery techniques intentionally. I found these techniques very interesting, they have inspired me a lot. I am expanding the expression of these techniques through my work."

Delving into the interplay between intricate, vibrant glazes and archetypal forms, Kuwata immerses himself in expressive experiments, pushing the boundaries of materiality and creating tension in his artworks. The thickness of the glaze, a pivotal element in his creative process, exerts a massive influence on the outcome offering a tactile quality. During firing, the glaze peels and falls away from the objects. Take the works from the Untitled series (variously 2015-2016) by Kuwata shown at the Hayward Gallery's Strange Clay: Ceramics in Contemporary Art exhibition, where the densely textured surfaces were both dramatic and highly tactile.

Juxtaposing deliberate roughness and weighty, rich surfaces with vibrant colours, Kuwata brings a sense of freshness and vitality into his creations. After the firing process, the artist applies a coating of platinum or golden lustre, transforming the vessel to give the impression of metal being squeezed out from within. This effect, as seen in the objects from the Tea Bowl series between 2017-2021, is heightened by the use of solid, bold colours and metallic glazes, all harmonising with deliberately fractured surface textures.

The intense and opulent colour palette employed by Kuwata evokes a sense of artificiality, adding yet another layer to the artistic narrative. Via rethinking archetypical forms and methods of ceramic production, his take on the concept of wabi-sabi, the Japanese art of impermanence, centres on imperfection as a necessary component of beauty.