Mitsuke Masayasu

Ceramic decorator | Kaga, Japan

Optical illusions in Kutani red

Mitsuke first fell in love with painting at the age of four
His works require 20 firings to be completely finished
The optical illusions in his works are best appreciated in person

Mitsuke Masayasu was born and raised in Kaga, Ishikawa, the home of Kutani ware ceramics, famed for their vibrant overglaze painting. While rooted in this tradition, Mitsuke's creative expression has taken on a life of its own, captivating the contemporary art world. His fascination with brushes began at the age of four, when he asked to join a calligraphy class, eventually earning a master’s certification. "I always loved drawing as well," shares Mitsuke. Recognising his inclination, his father suggested he enrol in a local ceramics school, which he attended for several years. This was a defining point of his life and in how his parctice would evolve. After graduation, Mitsuke apprenticed under red-enamel painter Buzan Fukushima, which allowed him to develop his skills and forge his distinctive style. “I was simply fortunate to meet people who guided me,” he says with characteristic humility.

Interview

©Masayasu Mitsuke

©Masayasu Mitsuke

How do you innovate in your craft?: My red overglaze painting follows traditional techniques, but unlike the pictorial focus of past masters I once copied during my learning, I now centre on patterns. A combination of patterns can bring out a completely fresh look in the context of traditional Kutani ware.
Could you describe why your works are better experienced in person?: All my works are three-dimensional, such as bowls, yet I paint patterns to appear in a perfect shape from the front. This is hard to achieve on a curved surface, and the effect shifts as you move round the object, drawing you in. There is something in this that photography cannot truly capture.
Do you incorporate digital tools into your craft?: No. Each line is hand-drawn. To perfect the balance of the overall drawing, I sometimes photograph the work in progress on my phone, assess it on a flat surface, and adjust accordingly. It surprises many, but every part of my process is completely analogue.
How do you handle misfiring?: Unlike other ceramic works, my art focuses entirely on painting over a glazed surface, which is produced by my longtime collaborator. Lines can be erased, so there is no true failure. Each piece undergoes around 20 firings, making the process extremely time-consuming.

Mitsuke Masayasu is a master artisan: he began his career in 1997 and he started teaching in 2000