The beginning of Kazunori Hamana's journey into the world of ceramics is a captivating narrative, as fascinating as his current practice, which is divided between working as an organic rice farmer, a fisherman, and an artist, based between several villages in Japan. Reflecting on his past, he reminisces, "About 30 years ago, I had a small store in Tokyo. I started selling vintage. It only started happening in Japan back then. In the 1990s, I started selling collectible Nike shoes." His early ventures into the world of vintage collectibles laid the groundwork for his appreciation of aged and antique objects. He recounts, "When I was 12-13 years old, I realised I found beauty in old things. When I was a teenager, I started practising many things, including ceramics."

As the artist matured, his passion for ceramics burgeoned, leading him to explore traditional techniques. He elucidates, "In my early 40s, I discovered that I didn't have a feeling for the ceramics of today. I was not satisfied. This is when I thought—why don't I start making ceramics?" This momentum became a turning point. He discovered solace in the process of creating vessels charged with layers of meaning, representing his reverence for tradition and transmitting it through his artistic vision to future generations.

Hamana's fascination with archaic ceramics, amplified by the fact that he is a passionate collector of antique Japanese ceramics, is palpable in his practice. He is re-establishing the notion of conventional form while embracing the essence of objects defined as vessels rooted in past associations with utilitarian wares. His series of works reflect an understanding of the fundamental principles of hand-built Japanese ceramics, characterised by the coil technique, though in his works the shape is being reinterpreted and reconfigured by the artist and the surface is, at times, covered with graphic calligraphy, geometric patterns and pure autonomous lines.

Drawing inspiration from traditional Japanese tsubo, functional clay jars dating back to the 12^th century, Hamana creates large-scale dynamic vessels that transcend mere containers. Working highly intuitively, the artist explores the idea of containment within the vessel, seeing space and volume as important representations of the human body.

He observes, "Tsubo is always hiding something inside, which one can’t see. Looking at it from a side one can’t discover what’s in it. [The] vessel is exactly like a human being. You can see your friend or a neighbour, but you don’t know what’s happening inside them, what they are thinking about…Tsubo is a container for storing things. Until the early 20^th century, we were using tsubos or wooden boxes—the same shapes, the same textures." Yet, he bemoans the uniformity of contemporary tsubos, noting, "I don’t like contemporary tsubos, they are all shaped the same way, they have boring textures."

Hamana's coil-building technique enables him to shape and manipulate clay into imperfect forms, enhancing the expressive potential of his artworks. Embracing a slow and gradual process echoing the rhythm of rural life, each piece takes at least 30 days to complete. He asserts, "I am a self-taught artist. I started learning the old coil technique." Hamana emphasises, "My purpose is not making containers or working on a craft object. My purpose is to build sculptures."

Rooted in his connection to nature, Hamana infuses his works with authenticity and harmony. The artist shares, "I’m originally from the big city, Osaka, but the reason why I decided to live not even in the suburbs, but in the countryside, is because I have to be in nature." He adds, "Seeing the ocean and nature, I feel very content."

Using local clay and natural glazes, often mixed with ash, he creates pieces that reflect the raw beauty of materials. He explains, "I use very simple clay and glaze in natural ways." Allowing his works to weather and evolve over time, due to the absence of storage facilities, he leaves the artworks on the balcony of his house, which faces the ocean. As a result, the sea breeze leaves traces on the objects.

With sophisticated gestural brushwork and an earthy palette, Hamana imbues each artwork with a unique energy, infusing his pieces with a sense of movement and vitality. Through his practice, Hamana challenges the boundaries between craft and art, addressing the layers of meaning that invite interpretation. He reflects, "Some years ago ceramic objects were considered to be craft, not art." Yet, he believes that ceramics possess a unique ability to transcend categorisation, stating, "It still has to stand out in its own form and meaning."

As he continues to explore the field of contemporary ceramics, Hamana remains steadfast in his pursuit of truth and destiny. Reflecting on the disconnect from nature prevalent in modern society, he muses, "We are so far from nature, that’s why we are trying to get it back." Through his art, he invites the viewers to reconnect with the natural world and rediscover the beauty hidden within simplicity and tradition.