SHINGU Sayaka

2001	B.F.A. Osaka University of Arts
1979	Born in Osaka

Solo Exhibitions

2017	Kochukyo Gallery, Tokyo
2016	Gallery Lab, Ehime
2015	Gallery Utsuwakan, Kyoto Gallery Tosei, Osaka Utsuwa Note, Saitama
2014	ENTOREZ, Kobe
2013	Gallery Suchi, Tokyo ('10) Rokurokudo, Kyoto Utsuwakana, Kyoto ('11)
2012	Gallery Yuragi, Kyoto
2011	INAX Live Museum, Tokoname
2010	Silver Shell, Tokyo INAX Galleria Ceramica, Tokyo
2007	Three D Gallery Iteza, Kyoto
2005	Gallery Maronie, Kyoto

Group Exhibitions

2017	Beauty of Use, Kyoto Takashimaya Object, Yakata Yusai, TokyoObject, Yakata Yusai, Tokyo
2016	MARVELOUS, MIRACULOUS, CURIOUS,, Saihodo Gallery, Tokyo (’14)
2015	Dialogue with Materials: Contemporary Japanese Arts an Crafts, Anadolu University, Eskisehir, Turkey Gravity, Gallery Suchi, Tokyo Tokyo
2014	Aesthetic Premonition - Metamorphose, Tokyo, Kyoto, Nagoya, Osaka MARVELOUS, MIRACULOUS, CURIOUS, Saihodo Gallery, Tokyo International Japanische Progressive Keramik Trifft auf Japanische Avantgardistische Malerei, Galerie IAC-Berlin-Koigswinter and Tenri Kultur Werkstatt, Cologne Dialogue with Materials: Contemporary Japanese Arts an Crafts, Ahmed Adnen Saygun Sanat Merkezi, Izmir, Turkey
2013	La céramique Japonaise, Association Culturelle Franco-Japonaise de TENRI, Paris, Luxembourg ART OSAKA 2013
2012	Asia's top galleries, Hotel Art Fair, Hong Kong Art Kyoto 2012, Kyoto 7th Paramita Museum Ceramic Competition
2010	RITTAI BUTSU BUTSU TEN, Shibuya Bunkanura Gallery, Tokyo +PLUS - The Art Fair, Tokyo
2007	Asahi Ceramic Exhibition ('04)

2007	Accepted: Asahi Ceramic Exhibition ('04)

• Anadole University Museum, Eskisehir, Turkey

Most of my pieces resemble fragile dried flowers. Because colored flowers are common and too familiar to people, I use black clay which I think allows one to use one’s imagination and see beyond flowers.

Before I begin creating a piece, I have in my mind the size and roughly the shape. If I first make a sketch for the completed image, the shapes tend to be forms I have previously seen, and so the finished piece won’t be interesting to me; therefore I prefer to allow for significant changes while I am working on a piece.

I mix clay with black pigments in varying proportions in order to create a monotonic palette of color. When constructing a piece I first make many ‘petals’ out of very thin black clay, and while doing this I keep in mind the need to express various movements or shapes of the individual petals. I then make thousands of the very small, needle size rods that form the center cluster of ‘stamens’ of the flower, which is extremely time consuming. It is important to me to convey a sense of growing, undulating stamens in order to express that the flower is in the final stage of life. I think this is the most important part of the execution. After the first (bisque) firing, I then add either white slip or occasionally glaze and fire them a second time.

When I observe all the stages of the life of a single flower—the first stem, the buds, the full bloom, the wilting and drying—I am reminded of the same stages in the lives of human beings and I think about their inner feelings. This is generally the source of my inspiration. In spite of the inevitable ending of life, both flowers and humans produce new generations. I am always deeply touched by the invisible pulsating life force of flowers, and I try to express this energy in my work with flower forms. If I convey this to others, I am satisfied.