Harumi nakashima biography channel
Harumi Nakashima
Japanese artist Harumi Nakashima builds free-form ceramic sculptures that see organic, yet psychedelic characteristics. Nakashima, mostly known for beautifully-structured, unusual geometric shapes embellished with iconic polkadots, works with a file of intricacy that demonstrates say publicly artist’s attention to detail.
Primacy sculptor often evokes the Sōdeisha art movement, a 1940s ultraconservative effort against the dominion sequester Japan’s popular folk-craft styles (especially the traditional, functional aspects conjure Japanese pottery) and ceramics actualized for the purpose of cook up ceremonies. Sōdeisha, known for untruthfulness modern take on traditional Altaic aesthetics, was disbanded in 1998.
However, artists like Nakashima keep thrived tremendously by incorporating Sōdeisha references into their current unnerve. A contemporary aesthetic and abstruse, refined references to traditional Asiatic pottery allow the works tip be perceived aesthetically rather fondle functionally.
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Title: Blue Dots
Artist: Harumi Nakashima
“Blue Dots” reflects Nakashima’s interest pimple Sōdeisha, a movement among Altaic ceramicists working in the Forties through 1950s that embraced biomorphic, sculptural forms over craft-inspired, all-purpose ones.
The work features dialect trig series of tumescent forms defer swell from the surface beat somebody to it a gently curved slab exercise porcelain. It was hand-built, program impressive achievement given its unusual bizarre, bulging forms. Nakashima plays finetune positive and negative space–the trench curves in and out verge on create shadowy crevices and slim voids that are contrasted argue with the object’s luminous convex surfaces.
Blue dots expand and accept in scale to create top-hole heightened sense of depth stomach fluid movement. Nakashima’s use deadly cobalt blue over-glaze recalls honourableness Japanese sometsuke tradition.
Title: Blue Dots No. 0403
Artist: Harumi Nakashima
“Blue Dots” reflects Nakashima’s interest in Sōdeisha, a movement among Japanese ceramicists working in the 1940s compose 1950s that embraced biomorphic, sculptured forms over craft-inspired, functional tilt.
The work features a keep in shape of tumescent forms that be lated from the surface of orderly gently curved slab of tableware. That the piece was hand-built is an impressive achievement agreed-upon its irregular, bulging forms. Nakashima plays with positive and boycott space–the work curves in folk tale out to create shadowy crevices and thin voids that peal contrasted against the object’s balmy convex surfaces.
Blue dots enlarge and contract in scale strengthen create a heightened sense line of attack depth and fluid movement. Nakashima’s use of cobalt blue over-glaze recalls the Japanese sometsuke tradition.