INAZAKI Eriko works INAZAKI Eriko works INAZAKI Eriko works INAZAKI Eriko works INAZAKI Eriko works INAZAKI Eriko works
2002-03 Artist in Residence, The Shigaraki Ceramic Cultural Park
1997 M.F.A. Kyoto City University of Arts, Department of Craft (major in Ceramic)
1995 B.F.A. Musashino Art University, Industrial, Internet and Craft Design

Solo Exhibitions

2018 Gallery Meguro Togei-kan, Mie ('07, '10, '12, '14, '16)
2013 Ultimate Elaboration: Ceramic Sculpture, Keiko Art International
2009 Galerie Pousse ('08)
1998 Galleria Ceramica, INAX, Tokyo

Group Exhibitions

2018 Paramita Museum Ceramic Competition, Mie
2017-18 Amazing Craftsmanship! From Meiji Kogei to Contemporary Art, Mitsui Memorial Museum, Museum of Modern Ceramic Art, Gifu, Yamaguchi Prefectural Art Museum
KOGEI Art Fair, Kanazawa
Cross Point, The Kagawa Museum
2016 A Guide to Contemporary Ceramic, Ibaraki Ceramic Art Museum
Art Fair Tokyo, Tokyo
2015 Dialogue with Materials: Contemporary Japanese Arts an Crafts, Anadolu University, Eskisehir, Turkey
Hikarie Contemporary Art Eye vol.2, Hibuya Hikarie, Tokyo
Exhibtiion for New Acquisitions, Ibaraki Ceramic Art Museum
2014 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
Phenomenon of Contemporary Ceramics, Ibaraki Ceramic Art Museum
2013 All Kinds of Ceramics - 20 Years of the Artist in Residence Program, The Shigaraki Ceramic Park, Shiga
La céramique Japonaise, Association Culturelle Franco-Japonaise de TENRI, Paris, Luxembourg
2012 The Fourth International Festival of Post Modern Ceramics, 2012
Ceramica Multiprex 2012
The Prize of the City of Varazdin, Croatia
2011 “Transformation”, Gallery Suzuki, Kyoto
Art Fair Tokyo, from MitochuKoueki
2009 Chosansho Modern Ceramic Exhibition, Tokoname
Fenick Ceramic, Sibuya Seibu, Tokyo
Women Ceramist Artists Who Bear the 21st Century, Paramita Museum, Mie
2007 The 4th World Ceramic Biennale 2007, Korea Interantional Competition, Korea
2006 Exhibition for 594 Artists Who Visited Shigaraki, The Shigaraki Ceramic Cultural Park
2005 7th Mino International Ceramic Exhibition, Gifu
2004 42nd Asahi Ceramic Art Exhibition
5th Mashiko Ceramic Exhibition
2003 37th Women’s Association of Ceramic Art, Kyoto Municipal Museum of Arts
1993 Asahi Modern Craft Exhibition, Hankyu Department Store, Umeda and Urakucho
2018 Grand Prix, Plamita Ceramic Award Exhibition
2017 Kagawa Prefecture, Cultural Award
2015 Grand Prix, Contemporary Tea Ceremoney Award
2005 Bronze Medal, 7th Mino International Ceramic Exhibition
2004 Excellent Award, Asahi Ceramic Art Exhibition
2003 Excellent Award, Asahi Ceramic Art Exhibition
Asahi Shinbun Award, 37th Women’s Association of Ceramic Ar
1993 Excellent Award, Asahi Modern Craft
  • Croatian Ceramic Association、Croatia
  • Ibaraki Ceramic Art Museum, Ibaraki
2010 New Ceramics, Germany
2009 TO-GEI, Taiwan
2002 Hono Geijutsu (’04,’05,'07)

Most of my works share a feature of the accumulation of tiny parts. These tiny particles, seemingly gathered on the surface over time, create beautiful rhythmic waves.

In the beginning of the process, I create roughly shaped bodies of clay. Before applying the parts on the surface of the body, I usually make a thumb size sample of the piece, using the tiny parts. This trial piece is not a maquette for the completed piece, but it gives me the idea the whole composition as well as the effect of light and shadow. After I get a vague idea from this sample, the process of attachment begins without any specific ideas. While I am creating and adding the tiny parts to the surface, I get some inspiration, and then a theme of the piece emerges.

Most of these tiny parts are made by porcelain and are shaped in different designs and sizes. For example, to make a one millimeter thickness porcelain rod, I roll the clay into the size of angel hair spaghetti and cut it into smaller sizes; or to make a 3mm window frame shape, I roll out the clay like paper thin pie dough and cut it with a knife. These tiny parts are attached to the surface with water, so it is important to keep the piece appropriately moist so it doesn’t become brittle. For that reason, I have to make the parts one by one before attaching them on the surface. This procedure slows down the execution which is already an onerous and complicated process. One more important thing is keeping the entire piece moist until all the surface application is finished. I make my pieces in a framed vinyl-covered box which stands on the desk, and a humidifier always produces steam near this box. Until the end of the day, the mist is sprayed, and the front of the box is sealed with a vinyl sheet to retain the humidity overnight. It takes about three to six months to finish applying all the small parts, and it is ideal if the drying time equals the execution time. In considering this complicated process, I sometime feel that I am growing the piece—a more appropriate expression than creating or decorating the piece.

Depending on the piece, they are fired two to four times in a gas kiln. The glazing involves glass, powdered feldspar, or silver mica according to what each piece requires.

As a child I was always fascinated to find star-sand or unusual patterned tiny mineral crystals, and I cherished these fragments of nature very much. All of them belong to the earth and were natural accompaniments to clay and now they create small pieces of my destiny. Whether the objects are small or large, the fact that everything is composed of micro particles appeals to me a lot. The reason I prefer to create from the smallest possible units may come from this preference. I create my sculptures as the insects make their niduses, but I never have the feeling that I am decorating the piece.

Finally, I have to reveal a bit of magic in my pieces. I take full advantage of the way clay shrinks as much as 15% to 20% during the firing process. I make the components as small as possible but they become much smaller in the kiln, and the some parts became crystalized, expressing a different beauty.

It’s at that moment I feel my sculptures exceed the capability of hand-making, because this shrinkage creates the maximum impact on my pieces. I feel that the firing allows my sculpture to transcend into another sphere. When I look at the fired pieces and feel that my effort has paid off, I feel purified. This kind of satisfaction might be the reason I can continue to make such elaborations with clay.