Pure Freude an Wasser ceramics by Amane Shiraishi His tiles are the jewels of the exhibit They are precise yet ir regular evoking fish scales birds heads and flowers in a gorgeous blend of saturated blue and teal While Shiraishi s ceramics would fit in nicely at Park Güell the Japanese creator de liberately avoided Gaudí s trademark trencadís style of mosaics assembled from broken shards We were going to imitate the works of Gaudí in the beginning he says As the work progressed however we started to think and aim for what might be created if Gaudí was there with us Shiraishi shaped his tiles with round backs enabling him to overlap them like petals The designs he says are what I would have suggested to Gaudí Even Kusumi a self confessed Gaudí geek wanted his work at INAX to go beyond mere tribute The theme was Gaudí he says but I think I was subconsciously exploring ways to express something Japanese That sense of open interpretation and dialogue would have suited the Catalan who never cared for sticking to pre drawn designs He construct ed spaces without blueprints says Hiki working alongside craftsmen on location For the three master artisans just as for Gaudí final shapes surfaces and decorations were often best improvised on site going by the feel as it were Though Hiki Kusumi and Shiraishi planned the exhibit together none of them knew exactly how their partners would interpret and modify their creations until the work itself was underway In Japanese monotsukuri implies an empha sis on the actual physical manufacture of an object but also refers to the spirit of cre ation Gaudí would have approved he loved making and practiced ceramics plastering stained glass and ironwork never limiting himself to architecture but opening himself up to the act of creation itself It s also a re cent word in disguise coined in the 1990s to revive the country s productive spirits it was purposely spelled with traditional Japanese hiragana syllables to make it sound more old fashioned In other words it s a mod ern conception that makes use of traditional methods An attitude that fits the Making Gaudí exhibit perfectly Amane Shiraishi s tiles are precise yet irregular and are formed with round backs so they can overlap The installation is formed from a passageway of Gaudí s signature catenary arches 42 P ho to s p 4 0 4 3 To sh ih id e K aj ih ar a

Vorschau G7_Layout_RH_v5 Seite 42
Hinweis: Dies ist eine maschinenlesbare No-Flash Ansicht.
Klicken Sie hier um zur Online-Version zu gelangen.