White – The unlimited variations

Ceramic Artist, Katsuhisa Kitano

White, bright, and sophisticated are probably the words to describe porcelain works by a ceramic artist, Katsuhisa Kitano whose focus is how to express “white.” White is probably the most simple and pure color and, therefore, it might be the most difficult color to achieve as one wishes because white can present almost unlimited varieties. “I find white interesting because I can create so many different varieties depending on which technique, glaze, clay and form I choose. White is like an open canvas that I can draw as I want. White gives me so much freedom,” Kitano states.

Although he was born into a ceramic artist family, Kitano never imagined he would follow the same path of a ceramic artist like his own father and grandfather. From the very beginning of his life, he has always been surrounded by ceramic works made by these two predecessors whose works were in classical Bizen style. Bizen is often characterized by the natural and unglazed texture of the clay and is less decorative than other ceramic styles. For young Kitano, such characteristics of Bizen appeared as too dark, too heavy, and to say most honestly, too boring. “Well, I was too young at that time to appreciate the true attraction of Bizen,” admits Kitano today.

However, being raised surrounded by so many earthy Bizen wares was a key to how he started looking in a different direction. One day, during his studies, Kitano happened to visit a craft exhibition where he was astonished with the white porcelain work. “It was too exquisite and high-souled to me. I couldn’t believe that a human being can create such a perfectly beautiful work.” This was the turning point of Kitano’s life as an artist and he started to create monochrome works either in white or black, which eventually led him to focus only on white today.

Do Kitano’s white porcelain works represent any sense of Japan? “I like to finish my works when they are not 100% perfect. It means that each of my works almost looks perfectly symmetrical but it is not. Or sometimes, I leave
a small finger mark faintly somewhere on the surface. I want to leave the warmth of human touch on my works no matter if these little intentions are noticed or not. Appreciating the imperfectness is one of the virtues of Japanese philosophy, I think, and I feel it important to represent it on my works.”

Now he can recall how precious it was to be raised with so many true quality Japanese ceramic works. His meals and drinks were always served in the fine Bizen wares with warmth produced by his father and grandfather. He never doubted that feeling the warmth through the daily wares was uncommon, however, it is not, of course. He can now see clearly that this experience has nurtured his sense as an artist. Today his four-year-old son is having the same experience as he once had as she enjoys her daily meals with wares that her father creates with pride.