Kenji Takenaka has a career of becoming a disciple of Atsushi Bise Isesaki (national treasure of the human being) after transferring from being a jewelry designer. In the traditional ground, we explore the material from all angles while exploring new possibilities, and repeat the test firing in the Ana kiln countless times. Behind the novel and subtle modeling sensation, there was a bold spirit of challenge and detailed data. I am particular about Bizen and return to the primitive work that is the origin of it...Kenji Takenaka's Bizen style that is nurtured from there is an eye-opener.
1957 Born in Okayama City
1986 Worked as an instructor after graduating from Okayama Prefectural Industrial Experiment Station
1988: Studying under Atsushi Isesaki (national treasure of human beings)
1989 Selected for the Tanabe Museum Chanoyu modeling exhibition Selected for the Asahi Ceramics exhibition
Japanese Traditional Crafts China Branch Exhibition Sanyo Shimbun Award
1991 Selected for the bargaining exhibition
1993 Semi-underground hole kiln built
1998 Japan Traditional Craft Exhibition
2000 Selected for the exhibition of tea ceremony at the Tabe Museum of Art (several times thereafter)
2005 Exhibited at the French-Japanese Contemporary Ceramic Art Exhibition
2008 Exhibited "Gallery Kurimoto "Ceramic Shape V"
Other selections and awards
Held solo exhibitions throughout Japan
How did you become a Bizen article artist?
When I was a jewelry designer, I was fascinated by Bizen himself in the process of searching for Bizen items looking for suggestions such as "Can I make jewelry using soil?"
When I was a kid, I didn't like simple Bizen items. However, touching on a number of modern forms, I felt that "Is there a vision of a similar world in Bizen's articles? It would be interesting to create traditional craftsmanship". I entered.
Instead of selecting the ears (the names), select the eyes (the works).
Now that I have gained a lot of experience while looking down on Bizen articles and can technically do what I want to do, I find it much more fun. I want to express everything that can be expressed in the soil so that viewers can impress something exciting.
from now on Bizen ware is universal. While I use Bizen ware as a base, I want to absorb various things and express my world. In the past, there were many acute and aggressive works, but in the future I would like to create works that were comfortable to look at and heal.
There is humidity in Japanese culture, such as the world of "wabi-sabi" and delicate sensitivity. Bizen ware is the same, with a humid atmosphere. However, I want you to feel the unique worldview that earthy smell is modern.
From the initial "K".