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
Awards
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
Collections/ Public Art
Hagi Uragami Museum, Yamaguchi
Han Hyang Lim Onggi Museum, Korea
Ibaraki Ceramic Art Museum, Ibaraki
Icheon world ceramic center, Korea
The Shigaraki Ceramic Cultural Park, Siga
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.
