自由に旅ができなくなった時代だからこそ
旅する夢をうつわに託したい。
世界中の使い手が参加者となってうつわをバトンし
産地から世界へ・作家から使う人へ
旅を通してその変化と物語を一緒に見守ります。
「うつわが生まれる」
美濃で作陶される作家にうつわを制作いただきました。
「うつわを育てる」
うつわが東京、パリ、NY等、世界に暮らすさまざまな方のもとへ旅立ち
バトンをつないでくらしに溶け込み育っていく変化を一緒に見守ります。
「うつわと暮らす」
うつわがある生活の魅力と、つないでいきたいその価値を伝えていきます。
Since traveling has been greatly limited this past year, we want our pottery to travel on behalf of us. The owners living in different cities around the world will become collaborators in this project, as they pass on the pottery like passing on a baton. Together, we will experience the changes of the pottery through their journey, starting from the place of origin to the world, from the artist to the owner.
“The Pottery is Born.”
Artists based in Mino province created vessels that will take part in this project.
“The Traveling Pottery.”
The vessels will first travel from Mino province to Tokyo, Paris, New York and other cities around the world, and we will join in on the journey as they are used by the owners in their everyday lives.
“Living with Pottery.”
We will share the experiences of using and living with pottery to future generations.
日本一の生産量を誇りながら、まだまだ魅力を知られていない美濃焼。1300年の歴史がある美濃焼には織部や黄瀬戸、志野など、魅力的で伝統的な焼き物があります。この地域には多くの作家が集まるだけではなく、人間国宝から大量生産の工場の焼き物までが共存し、まさに人々の身近な生活に当たり前のように焼き物があります。
現地に足を運び、作る人、つなぐ人へのインタビューを重ねて見えてきた魅力は、若い作家さんや、型に縛られずに新しい時代を切り拓こうとするいきいきとした「ひと」の姿でした。
豊かな土や釉薬が充実しているだけでなく、美濃焼の研究機関の存在や、伝統の作り方を地域で助け合っている環境もあり、実は新しい形の技術継承も進んでいる……。
実は、美濃で作陶されている作家の多くは、自分の作品は「美濃焼」という型にははまらないとおっしゃります。でも「この地だからこそ出来た」、そして「この地が好きだ」と。
私たちはこの地で必然性があって生まれた才能や器を「美濃焼」と考え、その魅力をもっと知りたいと思います。
Mino ware is the most produced pottery in Japan, but it is not well known. Dating back to 1300 years ago, Mino ware has fascinating and traditional pottery including Oribe, Kizeto and Shino. Not only do potters gather in Mino Province, but there are also living national treasures and factories for mass producing potteries that all coexist. Pottery, nonetheless, becomes a part of the people's daily lives. After visiting the area and interviewing potters, we were drawn to young artists who were trying to carve out a new way of pottery and potters who didn’t fit the traditional style of Mino ware.
Not only is there an abundance of clay and glaze, there are also Mino ware research institutes and a community where they help each other with traditional methods of pottery and at the same time, developing new techniques.
Many of the Mino ware artists say that their works do not fit into the style of traditional Mino ware but they say they were able to do it because of this place. And they love this place.
We will continue to share the talents and vessels that were born and created in this region as “Mino ware.”
