秋永 邦洋

Borrowing the form of animals, Akinaga attempts to express the ambiguity of the modern world with ceramics. Today’s society is in a situation where there is too much information and it is difficult to see the truth, despite various problems such as the international situation and changes in the natural environment. It is advancing at a tremendous speed, and human desires are advancing science, and all things are becoming reality today. In this modern society, he feels that the boundaries between “reality” and “unreality,” “people” and “animals,” and so on, have become blurred. He thinks that pottery, with its dual nature of “permanence,” as seen in Jomon earthware, and “fragility,” which easily crumbles upon impact, is a suitable material for expressing the permanence and fragility of human desires. One of the origins of figurative ceramic works is the terracotta ceramics found in the tombs of the first emperors. The terracotta ceramics are buried in tombs and exist for the afterlife of the buried person. He mentions that they are not made for the real world, but for something that does not exist, and that they may have an affinity with the ambiguity of modern society.