篠原 希 個展「噛み付く土の景色」 / Nozomu Shinohara Solo Exhibition “Biting Landscapes of Clay”
2026年1月7日（水）〜1月24日（土） / January 7 - 24, 2026
11:00 ～ 18:00 ※最終日は16:00閉廊
定休日：日曜日・月曜日
出展作家 / Artist
篠原希 / Nozomu Shinohara
作家在廊日：1月7日（水）、24日（土）
Artist's Attendance Day: January 7, 24
このたび桃青京都ギャラリーでは、信楽を拠点に活動する陶芸家・篠原 希（しのはら のぞむ）による個展「噛み付く土の景色」を開催いたします。
篠原は、花崗岩が風化して生まれた黄瀬の土や、微細な炭素を含む木節粘土など、信楽の土地が育んだ複数の土を独自に調合し、穴窯による高温焼成によって“土が熔ける瞬間”を作品として定着させてきました。本展では、篠原を象徴する作品である窯変壺や焼締壺をはじめ、茶碗、花器、酒器など、信楽土の本質に迫る最新作を展観いたします。
篠原の制作の根底には、土が本来もつ生命力を最大限に引き出すという思いがあります。穴窯での焼成は1250〜1300℃に達し、炎や灰が直接作品へ作用し、溶融、流動、収縮など、自然が生み出す現象そのものが表面に刻まれていきます。彼にとって窯焚きは、計画と偶然が交わる“実験の場”であり、毎回異なる結果に立ち会う姿勢が、作品へ独自の緊張感と力強さをもたらしています。
さらに、桃山陶工たちが楽しんだであろう“土と炎との対話”を現代に取り戻す姿勢も、篠原の制作を象徴するものです。伝統工芸師としての確かな技術を背景に、復古にとどまらず、信楽という土地の素材が持つ可能性を、穴窯焼成を通して現代へとつなげています。
本展では、熔け、流れ、破れ、そして再び固まりゆく土が生み出す唯一無二の景色を、作品を通してご覧いただけます。信楽の土と穴窯が描き出す豊かな表情を、ぜひこの機会にご高覧ください。
Tosei Kyoto Gallery is pleased to present Biting Landscapes of Clay, a solo exhibition by ceramic artist Nozomu Shinohara, who is based in Shigaraki.
Shinohara works with multiple clays nurtured by the land of Shigaraki, including Kise clay formed through the weathering of granite and Kibushi clay containing fine carbon particles. By blending these materials according to his own methods and firing them at extremely high temperatures in an anagama (wood-fired tunnel kiln), he captures the very moment when clay begins to melt. This exhibition features his latest works—ranging from Kiln-Effect Jars and high-fired unglazed jars that are emblematic of his practice, as well as tea bowls, flower vases, and sake wares.
At the core of Shinohara’s practice is a desire to draw out the inherent vitality of the clay itself. Firing in an anagama reaches temperatures of 1250–1300°C, during which flames and ash act directly upon the surfaces of the works. Phenomena such as melting, flowing, and contraction—processes born of nature itself—are etched into the clay. For Shinohara, firing is an “experimental field” where intention and chance intersect; his willingness to face unpredictable results each time lends his works a distinctive tension and powerful presence.
Equally central to his practice is an attitude that seeks to revive the dialogue between clay and fire once enjoyed by Momoyama-period potters. Grounded in the solid skills of a traditional craftsman, Shinohara does not merely replicate the past. Instead, through anagama firing, he connects the latent possibilities of Shigaraki’s materials to the present day.
This exhibition invites viewers to encounter singular landscapes formed as clay melts, flows, ruptures, and solidifies once again. We hope you will take this opportunity to experience the rich and dynamic expressions created by Shigaraki clay and the anagama kiln.
【作家ステートメント】
真っ白で火に強い信楽の土。「その土を熔けるまで焼いて見たらどうなるのか」芯から焼けた土から滲み出てくるような色や景色。それは私にとっては蜜のように感じる感覚です。
篠原 希
【Artist Statement】
Shigaraki clay is pure white and highly resistant to fire. I have long wondered what would happen if this clay were fired until it begins to melt. From clay fired through to its core, colors and landscapes seem to seep out from within. To me, that sensation feels like honey.
Nozomu Shinohara
