Artists & Brands | Gato
Tasuku Mitsufuji
Meeting Tasuku Mitsufuji
About two hours westward from Kyoto, we find ourselves in the studio of Tasuku Mitsufuji, nestled within a serene forested town in Hyogo. On this early spring day, he invited us to his workplace. Our anticipation has been building to meet the potter responsible for crafting ceramic wares that traverse both style and time.
Upon encountering Tasuku Mitsufuji’s work, one is immediately struck by the extensive range of styles and techniques he employs to create a lively collection of ceramic pieces. In his works, bold “hakeme” brushwork reveals a rough texture, while the cobalt blue of shibori annan ware flows down the elegant curves of the vase. He is dedicated learner of ceramic art. He shows his humble respect towards Buncheong ware and Karatsu ware, while at the same time expressing a his creative worldview without a hesitation. It is uncommon to find an artist with such a varied style while simultaneously having an unmistakable identity as Mitsufuji and his pieces.
Tasuku Mitsufuji first entered the world of ceramics during his teenage years when he discovered that one could earn a livelihood through manual craftsmanship. For a kid with a love for painting, it was a way for him to question the rapidly modernizing Japanese labor market of the 1980s, opening a door into a realm of creativity.
After completing his trade school education, Mitsufuji found himself employed in a ceramic kiln as a “shokunin,” an artisanal worker, meticulously crafting hundreds of pieces with exacting precision. It was an ideal environment for refining his techniques and skills. However, as time passed, he began to yearn for a different mode of creative expression.
In 1982, Mitsufuji enrolled in an art university under the guidance of Miyotaro Sagawa, the first Japanese manga artist to become a professor. This choice might seem curious, as Mitsufuji never aspired to become a manga artist himself. He was drawn to Sagawa’s teachings because he had heard that you could learn “what it means to hold a brush”. For a young artisan seeking something more fundamental to his creative practice than mere technique or style, this prospect was deeply alluring. Under Sagawa’s mentorship, Mitsufuji dedicated all his time in the university to practice croquis sketches, trying to capture each fleeting moments of life in his subjects.
Under Sagawa’s mentorship, Mitsufuji dedicated all his time in the university to practice croquis sketches of live subjects. This time, his goal wasn’t to create a precise product as it were as an artisan, but to capture something abstract and ephemeral: a fleeting moments of life in his subject.
After the university, he has found a work in a kiln owned by a traditional restaurant in Kyoto. They gave Mitsufuji the freedom to work on his own style, from glazing to firing. Inspired by young chefs during this time, Mitsufuji continues to train in a Kaiseki restaurant to learn traditonal Japanese cuisine. All these experiences in his early 20s, full of turns and surprises has become the fertile ground for his creations, today.
The Studio
After completing university, Mitsufuji secured a position at a kiln affiliated with a traditional restaurant in Kyoto. Here, he was granted the autonomy to develop his own style, from experimenting with glazing to the precise firing process. During this period, he drew inspiration from young chefs, leading him to train at a Kaiseki restaurant to immerse himself in the world of traditional Japanese cuisine. These formative experiences during his early twenties, filled with unexpected twists and turns, have since served as the rich soil from which his remarkable creations have come today.
Following our conversation in his living room, Mitsufuji invites us to explore the studio, located behind his home. The anagama kiln is self built by Mitsufuji, surrounded by stacks of wood used for the firing. Stone sculpture, ceramic pieces, and wildlife create a curious order around his studio, as every object have found its unique place, seamlessly blending into a larger ecosystem.
Within the studio, dynamic calligraphy adorns the walls, accompanied by the soothing hum of a radio. Mitsufuji continues to work on his creations while we marvel at the stunning collection of his pieces.
Once more, we are struck by the incredible diversity of style and technique that Mitsufuji seamlessly melds to craft his universe. His work unfolds as a testament to the legacy of East Asian ceramics history. The tranquil elegance of Karatsu-style ceramics, the humble beauty of Buncheong-style vases, and the graceful blues of his Annan ware – all deeply cherished styles in the tea ceremony.
Mitsufuji offers his perspective: “I don’t create mere decorative objects. My goal is achieved when someone, somewhere, places their food on my tableware, and that food looks delicious. Although I’ll never know, that’s when my work is truly complete.” His tableware exemplifies this philosophy, providing a solid foundation to accentuate the colors and flavors of the food, all while maintaining their own sense of life.
Among this broad spectrum of styles, a common thread unites Mitsufuji’s work. It’s an intriguing aura of vitality that emanates from his pieces, as if they possess a life of their own, poised to come alive after nightfall. His ceramic creations remain fluid even after firing, capturing a fleeting moment of his life within their essence. The result is a dynamic interplay of creativity and craftsmanship, manifesting in works of timeless beauty.
