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My basic and consistent position in making pottery is "facing tradition". Tradition, although it presents itself as rejecting people's interference and intrusions, is in fact the accumulated "convention" of all the people living in a specific period, so it is possible, in any period, for us to destroy or reconstruct it. Tradition is not fixed or immutable, and the people who "create" it live in the passing waves of generations and in the recurring certainty of fatality. I consider the most important aspect of this fatality to be "otherness" (not necessarily only of human beings), and have observed this aspect in the traditional spirit of Japanese pottery. The relation with the kiln as a tool, with my materials, with myself and with observers -- the relation with "others" -- involves intuiting the margin that is to be shared. For myselfas a creator/presenter, the pursuit of "otherness" amounts to intuiting that margin.
"Argue for Argument's Sake," (w)120.0 - (d)40.0 - (h)44.0 cm, handbuild Bizen stoneware, natural wood ash, traditional way fired to 1300 degrees C. in oxidized or reduced atmoshere, eight-day firing, with metal.
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"Otherness 03-20-2," (w)130.0 - (d)37.0 - (h)53.0 cm, wheel-thrown and handbuild stoneware with slip, unglazed and charcoal smoked, fired 1250 degrees C. in oxidation, with metal and epoxy.
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"Otherness 01-19-1," (w)70.0 - (d)30.0 - (h)55.0 cm, wheel-thrown and handbuild stoneware with slip, unglazed and charcoal smoked, fired 1250 degrees C. in reduction, with metal and epoxy.
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"Otherness 02-20-1," (w)100.0 - (d)48.0 - (h)57.0 cm, wheel-thrown and handbuild stoneware with slip, unglazed and charcoal smoked, fired 1250 degrees C. in reduction, with metal and epoxy.
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"Otherness 04-20-3," (w)94.0 - (d)26.0 - (h)71.0 cm, wheel-thrown and handbuild stoneware with slip, unglazed and charcoal smoked fired to 1250 degrees C. in oxidized atmoshere, with metal and epoxy.
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"Otherness 05-20-4," (w)105.0 - (d)31.0 - (h)51.0 cm, wheel-thrown and handbuild stoneware with slip, unglazed and charcoal smoked fired to 1250 degrees C. in oxidation and reduction, with metal and epoxy.
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"Sutra," (w)45.0 - (d)49.0 - (h)26.0cm, handbuild stonware, wood fired and charcoal smoked, fired 1250 degrees C. in reduced atmoshere, eight-day firing, with wood and metal.
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Back to Parent Page:  Makoto Hatori
Makoto Hatori apprenticed to master potter Ken Fujiwara in 1969. He then earned a degree in sculpture at Nihon University, College of Arts and went on to study technology at the Gifu Prefectural Institute of Ceramics. By 1975, he had established his own studio in Ibaraki region in eastern Japan, where he still works today. Since 1978 the artist has participated in numerous exhibitions in Japan, Italy, Great Britain, New Zealand, Egypt, Belgium,Germany, Lithuania, U.S.A., Croatia, South Africa, Australia, Taiwan, Estonia, Korea, Spain, Hungary. 1992, he taught ceramics at Manchester Metropolitan University Department of Art and Design. 1994~1996, Makoto is member of Contemporary Applied Arts in England. 1996,98 Invited to International Ceramic Symposium by Lithuania Panevezyo City Council. 1997 Invited to "Earth and Fire" Craft Potters Association Great Britain. 2006 Invited to "Woodfiring symposium" - Organized program for 2006- by International Ceramics Studio in Hungary. 2007 Invited to International Ceramic Magazine Editors Association (ICMEA) by ICMEA and FuLe International Ceramic Art Museum, Fuping, Shaanxi, China. He has published a number of articles and reviews on ceramic art. His works are included in the collections of South African, Korean, Hungarian, UK museums. Currently he works as a studio artist.
Makoto Hatori
Moriya-Shi JP
http://www2r.biglobe.ne.jp/~makoto-h/
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