Untitled

Shigematsu’s biomorphic ceramics explore loose naturalistic confines and a slow parabolic conversation with female sexuality; reoccurring themes from the second wave of post-war Japanese ceramicists. Base shapes are revealed through a semi-conscious working, coiling and pinching of the clay, and the soft amorphous gradients are added through layers of polished clay slip rather than a traditional glaze. This untitled piece suggests a soft movement — two dorsal territories colliding and absorbing one another, whilst a central void adds depth and dynamic presence.