Midori Takaki | Ceramic sculptures - an ideal output for imagination and observation
It is unusual to find working with clay being used as a way to cure sleeping problems, but for Midori Takaki her sculptures make real her daily observations and imaginative ideas, in this way clearing her mind.
She has created a range of bottles specifically for Contemporary Ceramics characterising a delightfully mixed collection of animals.
Here, she talks with the gallery about her inspiration and way into working with clay.
Contemporary Ceramics: Why do you do what you do?
Midori Takaki: I found ceramic sculptures are the ideal output for my imagination and observation. I’m more fluent with clay than in English. By making them, I empty my brain and actually, I am able to sleep well. Creating cured my sleeping problem.
CC: How did you first get involved in working with clay?
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| Midori Takaki | Bottles |
CC: Are there new pieces or a new direction in your work that will be explored for this display feature?
MD: Yes, I have made a series of bottles for it. They are as close as my works can get to pottery, or vessels. As I was aware that most ceramic pieces in the Contemporary Ceramics Centre are vessels, I thought I would give a nod to them to show my respect.
CC: How do you work?
MD: I mainly pinch as much as and as wide as possible with my small hands because that is the most pleasurable way for me to work. But when I really need to, I do slabbing and, if I am really pressed, coiling, as the last resort.
MD: Yes, I have made a series of bottles for it. They are as close as my works can get to pottery, or vessels. As I was aware that most ceramic pieces in the Contemporary Ceramics Centre are vessels, I thought I would give a nod to them to show my respect.
CC: How do you work?
MD: I mainly pinch as much as and as wide as possible with my small hands because that is the most pleasurable way for me to work. But when I really need to, I do slabbing and, if I am really pressed, coiling, as the last resort.
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| Midori Takaki | Bottles |
CC: How has your practice changed over time?
MD: It has changed all the time. Changing is part of what I do, and my point of what I do. The themes of my work have been my strong interest at that time.
CC: What images keep you company in the space where you work?
MD: None. My studio has white walls without any images. I eliminate all images or polychrome features. I found images and colours are distracting from my concentration when I work from my imagination. I also don’t draw.
MD: It has changed all the time. Changing is part of what I do, and my point of what I do. The themes of my work have been my strong interest at that time.
CC: What images keep you company in the space where you work?
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| Midori Takaki | Autumn Butterfly, Lavenders and Cherry Blossoms |
MD: None. My studio has white walls without any images. I eliminate all images or polychrome features. I found images and colours are distracting from my concentration when I work from my imagination. I also don’t draw.
CC: What was the first piece of art that really mattered to you?
MD: Children’s book illustrations.
CC: How do you hope people experience your ceramics?
MD: My work is personal in lots of ways. I hope they have conversations with them. I know my clients do. And I certainly do.
CC: How does working with clay influence your life beyond the workshop?
MD: It cured my life long sleeping problem. I have also become more perceptive.
MD: Children’s book illustrations.
CC: How do you hope people experience your ceramics?
MD: My work is personal in lots of ways. I hope they have conversations with them. I know my clients do. And I certainly do.
CC: How does working with clay influence your life beyond the workshop?
MD: It cured my life long sleeping problem. I have also become more perceptive.
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