OISHI Sayaka
1980 | Born in Kyoto |
2004 | M.F.A., Kyoto City University of Arts |
2016- | Part time lecturer, Kyoto Seika University of Arts |
Solo Exhibitions
2019 | Sayaka Oishi -binary-, The Shigaraki Ceramic Cultural Park Gallery, Shiga |
2018 | We, The Great, Silver Shell, Tokyo |
2013 | Oishi Sayaka, Kyoto Takashimaya, Kyoto |
2009 | Oishi Sayaka, Kyoto Daimaru, Kyoto |
Group Exhibitions
2020 | TARO award, Taro Okamoto Memorial Museum, Kanagawa |
2019 | Expression of Flowers in Japanese Ceramic Art, The Shigaraki Ceramic CulturalPark, Shiga |
Korean International Ceramic Biennale 2019, Icheon Ceramic Utopia, Korea | |
Kikuchi biennale Ⅷ, Musée Tomo, Tokyo | |
2018 | Tea pottery in modern - 2018 HAGI, Hagi Uragami Museum, Yamaguchi |
2017 | Thematic Exhibition in Gwangju GICB2017, Gwangju Gonjiam Ceramic Park, Korea |
12th Paramita Museum Ceramic Award Competition, Yokkaichi | |
2016 | Contemporary Ceramic Hagi Art Award Exhibition, Hagi | Kojima Hisaya’s MAGICAL MIRACLE CERAMIC, Museum of Modern Ceramic Art, Gifu |
2015 | Myer x Shigaraki Ceramic Exhibition, The Shigaraki Ceramic Cultural Park, Siga/ Frederic Meyer Meijer Gardens, Michigan Kyoten, Kyoto Municipal Museum of Art |
Chozansho Award, Tokoname Ceramic Art Exhibition for Free Forms, INAX Live Museum, Aichi | In Pursuit Of Beauty Through Functionality, Kyoto Takashimaya, Kyoto ('11, 12, '13) |
2014 | Chozansho Award, Tokoname Ceramic Art Exhibition for Daily Life, INAX Live Museum, Aichi |
2013 | Kobe Biennale, Contemporary Ceramic Exhibition |
2021 | Nominated The International Ceramics Festival Mino '21, Gifu/ Ceramic park MINO |
Excellence Award. the Kasama Ceramic Award 2021, Ibaraki/ Ibaraki Ceramic Art Museum | |
2020 | Nominated The 23rd TARO award, Kanagawa/ TARO OKAMOTO MUSEUM of ART, KAWASAKI |
2019 | Nominated Korean International Ceramic Biennale 2019, Korea/ Icheon Ceramic Utopia etc. |
Nominated Kikuchi biennale VIII, Musée Tomo, Tokyo | |
2017 | Nominated Paramita Museum ceramic art grand prize exhibition, Paramita Museum), Mie |
Nominated The 3rd Triennale of KOGEI in Kanazawa, Ishikawa/ 21st Century Museum of Contemporary Art, Kanazawa | |
2016 | Honorable Mention. The Hagi Grand Prix of Contemporary Ceramic IV, Hagi Uragami Museum, Yamaguchi |
2015 | Director’s Encouragement Award Kyoten 2015, Kyoto Municipal Museum of Art, Kyoto Silver prize, Tradition and Innovation Japanese Ceramics Now, The Shigaraki Ceramic Cultural Park, Shiga, museum USA/ Frederik Meijer Gardens & Sculpture Park Second prize, The 32nd Choza Award Tokoname Ceramic Exhibition, Aichi Prefectural Ceramic Museum, Aichi etc. |
2014 | Third prize. The 43rd Choza Award Tokoname Pottery Exhibition of Living, INAX Live Museum, Aichi etc. |
2013 | Nominated Kobe biennale competition 2013, The Museum of Ceramic Art, Hyogo |
2004 | Reunion Award. Kyoto City University of Arts, Kyoto Municipal Museum of Art, Kyoto |
The subject of my work is “decoration”. I understand “decoration” enables me to express indescribably complicated emotions and it is indispensable to human beings. At the same time that I entrust my own complicated emotions to “decoration”, I give the finishing touches with my characteristic worldview intermingling with parts of human body, plants, animals and also inorganics one another. That is the reason why I have grown up in the polytheism circumstances where god is believed to exist in everything in the rich nature.
Moreover I am conscious of the existence of a kind of “order” in the “decoration” with this unique worldview. I think it is the same as order existing in the ebb and flow, breathing and pulse. I suppose I can also call it “rhythm”. I believe my works will resonate in everyone’s heart regardless of religion by cherishing this primordial “order”.
In the process of creating ceramics I experience the micro world touching the clay particles with fingers and the macro world by gravity from the glaze flow discovered through firing. Accepting, taking advantage of this experience and creating the works I only can do, I will see the primordial “order” just like breathing or ebb and flow embodied in my works. Moreover this order will sublimate the emotional expression of "decoration" into more essential and higher sympathy with viewers. I sincerely hope that my “decoration” will provide a good chance for people present at my exhibition to sympathize each other transcending the difference of language, race, or religion.