On this website, I borrowed a workplace in March 1980, and part and history of pottery, glass, drawing works that I have made since my independence, the state of the exhibition, the Takashima where I live The scenery of the four seasons is posted. It was very important for me to organize what I had done in the space called the homepage and see them again. I am asking myself again what I have been doing, what I was trying to do, and what I did not do.

The ceramics that I mainly make are containers for food and containers for flowers. I make things that people use in their daily lives. My life consists of people choosing and buying them. I am very blessed to be able to work and live as an individual. Every morning I enter the workplace and work alone in the evening without talking to anyone (maybe sometimes speaking to myself). It's a very important time for me, and it's a habit that hasn't changed for 39 years and I want to continue.

When I was 23 years old (1974), I thought I had to work as an individual rather than working for a company. At that time, my friend who lived in the neighborhood created a pottery workplace at home and started making it alone. I decided to try it. I found a painting job in a workshop for making porcelain tea utensils in Fushimi-ku, Kyoto. Until that time, I had no knowledge or interest in pottery, so I started working there as if I wanted to try it. However, every day, I paint with a brush, stuffed the kiln, put out the kiln, etc. I went to see exhibitions of pottery, various crafts, paintings, sculptures, etc. on the weekend, and gradually made things I was interested in things.

There was a founder called Tezuka Gyokudo in the workshop. He was over 80 years old and at that time he was no longer working in the workshop, but he was researching glaze. There were always a lot of glaze test pieces in the kiln firing three times a week. I put the test pieces in the kiln and brought the ones that came out, and faced each other like every day. We didn't talk much. However, I strongly felt that the artist was someone like this one. He told me with passion that he was trying to make a bag that no one has ever seen in the world. I thought it would be great if I lived like this person. He is still an important person for me and I'm glad to meet him.

In 1978, I left the workshop and took a boat from Yokohama to travel to a Japanese ceramic artist living in Sweden, and traveled from Nakhodka to Siberian Transcontinental Railway to Khabarovsk, Moscow, and then to Helsinki and Sweden. It was a very good experience to be the first overseas trip and to spend time slowly with a diesel locomotive. I met people from various countries on the train. I had a long relationship with one of them, but it was a pity that he died before he was 60 years old. In Sweden, I was allowed to practice kick-rolling while doing housework and chores as a weather. And I was able to see from the side how a ceramic artist works every day, and it was precious that I was able to talk about making things. did.

After that, I traveled around Europe for three months by train, looked around museums,and ceramics, and had talked with people who had various countries, history, people and lives. It is deeply carved into. Then, I decided to go back to Japan and enter the world of ceramics and returned home. For me, this trip was a major milestone, and I thought I was going to a different world and deeply asking myself.

In 1979, I entered a potters vocational training school in Kyoto, where I studied while technology for one year. I practiced making a shape using an electric while for 6 hours every day, and a year later, I was able to make a vase of about 30cm. It was the first time that I enjoyed going to school and it was a very good time when I met people who were interested in pottery.

1980 In Otsu City, Shiga Prefecture, I could rent a work place and a house (although it is an old and shabby building) and become independent. Anyway, I was glad to be able to make ceramics by myself, and decided not to work part-time, but to sell what I made. However, I didn't know what to do and how to make it, and I tried to repeat the process of trial and error, and touched the soil anyway. I think that what I was looking for was found little by little in communication with clay, materials, firing, and kilns. In November of that year, I had my first solo exhibition at a rental gallery in Nakagyo-ku, Kyoto. This is how my work started.