[Ceramic Artist Erina Nishioka] Creating "unconscious awareness" in everyday life. The philosophy of a ceramic artist who creates colorful and unique works.

– What inspired you to start pottery?

I originally attended a vocational school's design department for three years, where I mainly studied graphic design.

I enjoyed that in itself, but gradually I became interested in three-dimensional representation.

In two-dimensional design, the focus is basically on how it looks from the front, as seen from one's own perspective. But with three-dimensional design, you can express it from all angles—the back, the side, from above, from below, 360 degrees. I found that freedom fascinating.

Around that time, I was able to take pottery as an elective, and that's what got me started in pottery.

Actually, since my father is a carpenter, I wanted to become a carpenter when I was in elementary school.
From there, little by little, my desire to create and express myself by making things I wanted to make grew, and I became interested in the act of making things itself.

–Among all of that, are there any authors who have had a significant influence on you so far?

That would be Yusuke Makawa, the ceramic artist who took me on as an apprentice. When I first saw his work, I was incredibly surprised by its originality.

I was very intrigued, wondering, "Where does all this energy come from?"

At first, I was just a customer, buying his works and using them. But as I used them, my curiosity grew more and more about "what kind of feelings he had when he created these works."

The author herself is a very natural and gentle person. But her works have a very strong energy to them. That contrast is fascinating.

I wondered, "What kind of thinking goes into creating this work?" and decided to take on the challenge of becoming his apprentice.

– Are there any feelings or sensations that you value when creating your artwork?

I have this energy inside me that I can't release.

When I'm creating a piece, I feel like I'm releasing that energy outwards, and when I look at the finished work, I feel like I'm drawing motivation from it in return.

It feels like I'm outputting while simultaneously receiving input from my own work.

I think that because there's a cycle of giving out energy and then absorbing it back, I'm able to maintain a good balance in my daily life. That's how I feel about it.

– How do you perceive your own individuality?

When I was attending vocational school, there was a period when I would go to school dressed entirely in red.

I thought it was normal, but one day on the train I saw a little child pointing at me, and their parent told them to stop.

That's when I thought, "Oh, I'm weird," haha. Of course, I kind of knew it myself.

But for me, the word "weird" isn't meant in a negative way; rather, it feels more like a compliment.

I'm actually a very ordinary person. That's why I think I want to express my individuality through things like my clothes and belongings.

They seem like an ordinary person who admires eccentric people.

–What is the starting point for your creative process?

I'm the type of person who starts by creating the form.

I've noticed that there are surprisingly few things in everyday life that make me think, "I want this." So, I figured, why not just make it myself?

Of course, I understand that my work isn't a design that will appeal to everyone.

But rather than making things to sell, my stance is that I make them to express my own feelings, and I'm happy if someone likes them.

–Please tell us about the details you focus on in your work.

My work is characterized by the fact that it can be viewed as an object, or actually used in everyday life.

I enjoy creating pieces that pay attention to details that might not be immediately noticeable, such as making the bottom three-dimensional or creating bumps and indentations to cast shadows on the cup.

For example, if there's a bumpy bulge near the rim, you'd probably shift your grip slightly when holding it, right? But with a normal design, you'd probably just hold it and drink without thinking about it.

But with my cup, the action of "let's try moving it around a bit" comes naturally. I find it interesting that movements and thoughts that I wouldn't normally consider emerge.

I'm not consciously aware of it, but I am a little conscious of it.

I find it fascinating when it comes to creating vessels that allow such moments to unfold in everyday life, and I cherish that feeling while I'm creating my work.

But actually, I'm not particularly fixated on pottery.

Of course, there's a high probability that I'll continue with pottery in the future, but if there's another material that allows me to express myself, I might use that to create artwork.

Furthermore, even within the realm of pottery, there's a possibility that they might be creating works that are purely sculptural objects, rather than the kind of tableware that fits seamlessly into everyday life.

I believe that the expressive energy within me will never disappear as long as I'm alive. So, even if it wasn't pottery, I think I would continue to create something, giving it form in some way.

–Could you tell us about your future goals, Mr. Nishioka?

Actually, I have a solo exhibition scheduled at a gallery in Sweden before the end of the year. Thanks to a fortunate connection that came about through a chance encounter, I've been able to expand my activities overseas.

From now on, I'd like to increase opportunities for people to see my work not only in Japan but also overseas.

I also want to create more elaborate pieces.

I want to challenge myself to create more original and interesting works so that more people can pick up my work.

I believe my work will continue to change and evolve.

Pressure is inevitable with new challenges, but since my profession involves expressing myself, I want to keep taking on new challenges.