TANAKA Tomomi
| 2008 | M.F.A. from Aichi University of Education |
| 1995 | B.F.A. from Aichi University of Education |
| 1983 | Born in Hyogo Prefecture |
Solo Exhibitions
| 2021 | Gallery Blue, Kanazawa |
| Layered Form: Taking the Shape of What Words Can't Express, Keiko Art International | |
| 2020 | Integrated Form, Sokyo Gallery, Kyoto |
| 2018 | Gallery Suki, Aichi ('13, '15) |
| 2014 | Vibrant Forms, Nihonbashi Takashimaya, Tokyo L'Envol, Mizen Fine Art, Paris |
| 2008 | Galleria Ceramica, INAX, Tokyo |
Group Exhibitions
| 2022 | Ningbo International (China, Japan and Korea) Contemporary Young Ceramic Artists Exhibition, China Port Museum, China |
| 2021 | The Present Situation of Ceramic Art-PartⅩⅧ, Gallery VOICE, Gifu |
| Drinking Vessel Exhibition, Gallery SUKI, Aichi | |
| 2020 | Favorite Forms, Gallery Suki, Aichi |
| KOGEI Art Fair kanazawa 2020, Ishikawa | |
| 2019 | Two persons Exhibition, Painting and Ceramic: shapes by repetition, Kultur Am Kelterberg Vaihingen e.V., Stuttgart, Germany |
| 2018 | Forms of Bowls, Gallery Voice, Gifu |
| 2017 | KOGEI Art Fair, Kanazawa, Ishikawa, by KUMU |
| 2016 |
Evolved Form , Ibaraki Ceramic Art Museum, Ibaraki 11th Paramita Museum Ceramic Prize Exhibition, Paramita Museum, Mie Bi no Yokan, Nihonbashi, Shinjuku, Osaka and Kyoto takashimaya |
| 2015 |
Dialogue with Materials: Contemporary Japanese Arts an Crafts, Anadolu University, Eskisehir, Turkey Hanayagi no Tou, Ginza Wako, Tokyo Ceramic and Glass Sculptures by the alumnus and facultires of Aichi University of Education, New Century Craft Museum of Seto, Aichi Exhibtiion for New Acquisitions, Ibaraki Ceramic Art Museum |
| 2014 | MARVELOUS, MIRACULOUS, CURIOUS, Saihodo Gallery, Tokyo Dialogue with Materials: Contemporary Japanese Arts an Crafts, Ahmed Adnen Saygun Sanat Merkezi, Izmir, Turkey Phenomenon of Contemporary Ceramics, Ibaraki Ceramic Art Museum |
| 2013 | Art Fair Tokyo, gallery Voice |
| 2012 | Form for Bowls, Gallery Voice, Gifu Ceramics Now-Shaped by clay partX, Gallery Voice, Gifu Wonder! Delightful! Contemporary Ceramic, Ibaraki Ceramic Art Museum, Ibaraki Capability of Form, Cera-Mix, Meguro Togekan, Mie Eight Women’s Ceramist, Utsuwakan, Kyoto |
| 2011 | Anjin-crossing, Tsutaya Shoten Anjin, Tokyo Art Fair Tokyo, from MitochuKoueki |
| 2010 | Dynamics of Form Part II, Cera-Mix, Meguro Togekan, Mie UN・EARTH, iPRECIATION, Hong Kong |
| 2009 | TANAKA Tomomi, NAKASHIMA Harumi, HATTORI Makiko and YAMAGISHI Yusuke, Gallery Suki, Aichi Women Ceramist Artists Who Bear the 21st Century, Paramita Museum, Mie The Power of Decoration, The National Museum of Modern Art, Tokyo |
| 2008 | Forms with Handles, Gallery Voice, Gifu |
| 2007 | Forms by Aichi University of Education, Aichi Prefectural Ceramic Museum Forms with Lids, Gallery Voice, Gifu Ceramics Now-Part IV, Gallery Voice, Gifu Contemporary Ceramic Exhibition for Japan, Korea and China, Seoul, Korea |
| 2006 | cera-mix, Forms by Aichi University of Education, Meguro Togekan, Mie |
| 2016 | Aichi Prefectural Art and Culture Encouragement Prize for New Artists |
| 2014 | silver award, 10th International Ceramics Competition Mino |
| 2006 | Encouragement Award, Asahi Ceramic Art Exhibition |
| 2005 | Kyoto Mayer’s Award, 39th Women’s Association of Ceramic Art |
- Harn Museum of Art
- Ibaraki Ceramic Art Museum, Ibaraki
- Japan Foundation
- Riz-Carlton Hotel, Kyoto
| 2013 | The Window of Arts |
| 2013 | Art Collectors |
| 2013 | Geijutsu Shincho |
My pieces are consisted of many lamellas of clay that are attached on the surface of the hand-built clay core.
One day, I was unintentionally pushing down the clay on the table with hands and tools. The flattened clay appealed me and the idea, using these lamellar for my works, came up to me, because I felt that the layers of lamella seem like the feeling piled up in my mind.
I tend to keep my feelings inside in order to be afraid of criticisms or isolation. Therefore, the feelings that weren’t spoken out are gradually building up in my mind. In the beginning, I got caught up in attaching the thin lamellas on the core, as if I was getting all my feeling out madly. In this stage, the cores were simple ball-like-shape and I didn’t think about the forms not that much.
However, in a meanwhile, my interest was shifted to create the forms that have beautiful curved lines, like waves, by layers of lamella. This was the second stage for my work.
The anger, happiness and other feelings are always mixed and whirling in my mind. Sometime, they are wriggling ominously in the bottom. I was thinking how I should express the movements of my inner feelings that exist inside me. As a result, I started to change the shape of the core. They were pulled or constricted to create the forms like limbs or waists, and then lamellas were attached on those surfaces. The shape of lamellas themselves was changed as well, and larger lamellas, like belts, were added on the surfaces. Now, I consciously create the pieces that are not only expressed my inner feeling, but also are born from me as new life-forms.
As I explained earlier, I can’t express my feeling well, but it means that I am not good at verbalizing myself in a short time. However, while I am creating the sculpture pieces, my feelings are marshaled over time and it becomes easy to express into my works. For these reason, the various processes of execution are necessary for me to face to my inner voice. I hope that the pieces created like that can talk and give some messages to the people who see my pieces.