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Artist Exhibitions:
Born in 1947 in Japan, Makoto
Hatori apprenticed to master
potter Ken Fujiwara in 1969.
He then earned a degree in
sculpture at Nihon University,
College of Arts and went on to
study technology at the Gifu
Prefectural Institute of
Ceramics. By 1975, he had
established his own studio
in...
Further Information
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Artist Galleries:
Coming Soon!
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Artist Reviews:
"Ancient Style, Modern
Sensibility" -by Andy Cordy
Ceramic Review -U.K.- / May
June 1993 - Number 141
"Makoto Hatori" - by Shane
Enright
Studio Pottery -U.K.- / August
Septmber 1993 - Number 4
"Makoto Hatori"
Ceramics monthly -U.S.A.- /
Febuary 1994
"Comment un potier japonais
voit la position de la
ceramique sur...
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Collections:
[ Public Collection ]
The British Museum (UK)
Victoria & Albert Museum (UK)
Stoke-on-Trent City Museum
(UK)
Manchester City Art Gallery
(UK)
Reading City Museum (UK)
Panevezyo Civic Art Gallery
(Lithuania)
The Liturgical Art Gulld (USA)
Zanesville Art Center (USA)
Victorian Ceramic Group
Incorporated (Australia)
Pretoria Art Museum (Gauteng,
South Africa...
Further Information
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Commissions:
Coming Soon!
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Artist Statement for Makoto Hatori
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An artwork has its own reason-d'etre as an objective substance. The essence of an artwork does not necessarily draw its artistic power from the subjective self of the artist. Conventionally, however, people who try to appreciate an artwork tend to regard the artwork as an expression of internal self of the artist. The conflict between the artist and the recipient, in terms of the artwork, starts from here.
In the era when the religious passion stimulates the imagination in internal self of artists, as, for instance, in painters in Western middle-age, the devout belief in God --- and the internal imagination that accompanies it --- produced numbers of Christian paintings. Painters and people who see them share a universal episteme coming from the Belief, which reflects the completion of the religious doctrine. Buddhism also produced a number of Buddhist artworks for spreading the Buddhist doctrine.
In the present era, where the uniformity of time and space is increasingly under doubt, and being perceived as somthing more chaotic, the external world itself is perceived as containing the artistic image. Thus, the image of internal self is understood to be its shadow, a phantom whose substance exists in the external world. The present-day sense of creativity, therefore, resides in how to portray the artist's self to the external images.
It has long been the case, in fact, that the image that produces an artwork is external and does not come from the internal self of the artist. We can readily see this in uniform craft pieces produced by long experience (which tends to lack originality and logic) or in fancy, smart and/or stimulating works accepted in sub-culture.
It is easy to unilateraly critisise the destruction of stone statues of Buddha by religious fundamentalists. Upon reflecting, however, the relation and conflict between internal and external images as well as the relation between the artists and the recipients, I saw, though possibly imprudent to say this, the destruction as a sublime artistic performance. It is us, as well as them, who assign clutural value to the pieces of destroyed statues for sale in Western fundamentalism called commercialism.
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