Masaomi Yasunaga was a student of Satoru Hoshino, a coterie of the avant-garde ceramic group Sodeisha: a post-war (1940s – 1990s) movement that questioned the mandate of functionality within the ceramic medium and pioneered a new sculptural philosophy. Translated as ‘crawling through the mud society’, artists of Sodeisha rebelled against the prevalent ceramic traditions in Japan to create existentially and emotionally driven artworks. Yasunaga extends the legacy of Sodeisha group’s experimental ethos by focusing on the process of creation, centred around the sculptural form rather than the functional use of the object. Inspired by his upbringing within Japan’s Catholic minority and ensuing appreciation for aesthetics of Western origin, Yasunaga honours a global range of vessel forms and ritual objects. With titles referencing physical states of being — empty, melting, fused, molted, shedding, skeleton, flesh and bone — the artist evokes nature’s physicality into earthenware, eliciting an emotional connection with the viewer.

Masaomi Yasunaga was a student of Satoru Hoshino, a coterie of the avant-garde ceramic group Sodeisha: a post-war (1940s – 1990s) movement that questioned the mandate of functionality within the ceramic medium and pioneered a new sculptural philosophy. Translated as ‘crawling through the mud society’, artists of Sodeisha rebelled against the prevalent ceramic traditions in Japan to create existentially and emotionally driven artworks. Yasunaga extends the legacy of Sodeisha group’s experimental ethos by focusing on the process of creation, centred around the sculptural form rather than the functional use of the object. Inspired by his upbringing within Japan’s Catholic minority and ensuing appreciation for aesthetics of Western origin, Yasunaga honours a global range of vessel forms and ritual objects. With titles referencing physical states of being — empty, melting, fused, molted, shedding, skeleton, flesh and bone — the artist evokes nature’s physicality into earthenware, eliciting an emotional connection with the viewer.

Masaomi Yasunaga was a student of Satoru Hoshino, a coterie of the avant-garde ceramic group Sodeisha: a post-war (1940s – 1990s) movement that questioned the mandate of functionality within the ceramic medium and pioneered a new sculptural philosophy. Translated as ‘crawling through the mud society’, artists of Sodeisha rebelled against the prevalent ceramic traditions in Japan to create existentially and emotionally driven artworks. Yasunaga extends the legacy of Sodeisha group’s experimental ethos by focusing on the process of creation, centred around the sculptural form rather than the functional use of the object. Inspired by his upbringing within Japan’s Catholic minority and ensuing appreciation for aesthetics of Western origin, Yasunaga honours a global range of vessel forms and ritual objects. With titles referencing physical states of being — empty, melting, fused, molted, shedding, skeleton, flesh and bone — the artist evokes nature’s physicality into earthenware, eliciting an emotional connection with the viewer.

Masaomi Yasunaga was a student of Satoru Hoshino, a coterie of the avant-garde ceramic group Sodeisha: a post-war (1940s – 1990s) movement that questioned the mandate of functionality within the ceramic medium and pioneered a new sculptural philosophy. Translated as ‘crawling through the mud society’, artists of Sodeisha rebelled against the prevalent ceramic traditions in Japan to create existentially and emotionally driven artworks. Yasunaga extends the legacy of Sodeisha group’s experimental ethos by focusing on the process of creation, centred around the sculptural form rather than the functional use of the object. Inspired by his upbringing within Japan’s Catholic minority and ensuing appreciation for aesthetics of Western origin, Yasunaga honours a global range of vessel forms and ritual objects. With titles referencing physical states of being — empty, melting, fused, molted, shedding, skeleton, flesh and bone — the artist evokes nature’s physicality into earthenware, eliciting an emotional connection with the viewer.