Breaking moulds in Japanese ceramics
- Kazue makes ceramic pieces that blur the line between utility and decoration
- She was the first woman to receive the Kikuchi Biennale Grand Prix
- She developed gin-shitsu-sai, a technique combining silver and lacquer
Kazue Wakabayashi found the full potential of her creative voice when she began working with clay, which transformed her passion for crafts into a 3D form. "I was always meant to be in the art world. For as long as I can remember, I have been holding a paintbrush or pencil," she says. Kazue's formative experience studying ceramics in Italy widened her perspective and helped her merge cultural influences into a more liberated approach to making. She now explores the space between art and craft, seeking to transcend the binary concept of function versus non-function. She embraces a more fluid expression that resists categorisation. Kazue is the first woman ceramicist to receive the Kikuchi Biennale Grand Prix, as well as the East Japan Traditional Craft Competition award.
Discover her work
INTERVIEW
Gin-shitsu-sai is a technique that adds urushi lacquer over a silver coating on ceramics. Silver oxidises quickly and changes colour, much like fingerprints left on surfaces. The urushi coating protects silver surfaces from patina while adding more nuances. It takes around seven firings to complete each piece with this technique.
Clay work, traditionally heavy, has historically positioned ceramics as a male-dominated craft. But today, tools and systems have made it more accessible. The environment is evolving, and more women are now also serving as judges in art competitions.
Functionality often defines whether an object is considered craft or art – its presence suggests craft, and its absence suggests art. I like to break free from these conceptual constraints and create pieces people want to keep close. My lidded boxes, which can weigh over 5 kg, are one way I explore this philosophy.
I was drawn to Majolica pottery and its vivid colour palette. But what truly changed me was encountering so many cultures and ways of thinking. Seeing coexistence in action was deeply inspiring. Even today, in a world full of conflict, I want my work to hold space for contradictions and opposites.
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