I am often asked to speak of instances where I have been
moved by beauty. Lucie Rie and her work represent some
which most often come to mind.
Twenty-some years ago, I happened across a ceramics
book in a London bookstore. As I leafed through the pages,
I became so enthralled by what I saw that I decided I had
to visit Lucie’s workshop––which doubled as her home.
Upon entering, meeting her, and seeing some of her work
I sensed that “this is what it means to create.” I remember
feeling suddenly energized as well as inspired. When I
returned to Tokyo, still tingling with the excitement from
my visit, I organized an exhibition entitled, Issey Miyake
Meets Lucie Rie (1989, in Tokyo and Osaka), which was
received with great enthusiasm.
In this country, generally the case is that only well-known
artists are paid attention and regard. I was surprised that
Lucie’s work, largely unknown at the time, was so well
received. It goes without saying that the success owed a
great deal to the hall designed by Tadao Ando (the Sogetsu
Gallery), in which every piece was displayed, floating upon
the surface of a gigantic rectangular pool; the power of
Yusaku Kamekura’s graphics, and photographer, Yasuhiro
Ishimoto’s impressive images.
The beauty, simplicity, nobility, and natural character of
Lucie’s work commanded center stage, even in such a
beautiful setting. The appeal of her work lies in the
warmth and nostalgia of the hand-work that floods our
hearts. I have always been poor at speaking, and for me,
the work eliminated the need for words and instead
aroused a desire to feel. Each of Lucie’s pieces gives us a
sense for the origin of its creation; each exists in a world
of its own, neither East nor West.
The exhibition entitled "U-Tsu-Wa" will focus
upon the work of Lucie Rie, from which a universe of
futuristic creation arose, inspired by 20th Century
tradition. In addition, the exhibition will also present the
work of two more contemporary artists, Jennifer Lee, who
has inherited Lucie’s sensibility and who has given modern
ceramics a new direction; and Ernst Gamperl, whose work
explores the life within wood. A rich and diverse selection
of each artist’s work will be on display. Each was faced
with the challenge of delving deeper into themselves via
the creation of beautiful forms that employed natural
materials such as earth, stone, and wood. It is our hope
that the exhibition will inspire all who visit.
The hall will be designed by Tadao Ando; visual direction
by Kohei Sugiura. Photographer Hiroshi Iwasaki has
captured the cosmic beauty of the vessels on film; Akiko
Moriyama has written a text full of love and respect for the
featured artists. We could not have hoped for a better
team. I thank everyone who has helped to make this
exhibition possible, from the bottom of my
heart.
Issey Miyake
13 February –
10 May 200
21_21 Design
Sight
The Issey Miyake Foundation,
Tokyo
Images, from top to bottom: Lucie Rie,
Bowl,1979 (photo by Iroshi Iwasaki); Lucie Rie
(from Lucie Rie by Tony
Birks); Jennifer Lee (photo by Jake Tilson); Ernst
Gamperl (photo by Pedro Gato Lopez).
The Shape of Emotions
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- Loredana Mascheroni
- 13 February 2009