記憶與它的影子們 : 專訪千田稚子陶展 Memories and its shadows : Interview Wakako Senda
書籍「陰翳禮贊」裡有一段曾娓娓談著時代的加快現象，在這樣的生活速度裡，我們不知不覺逝去了對時間的耐性，不再平心靜氣的專注於某件事上，於是恢復這種心情成為了一種現代課題。從這樣的思考走入日本工藝(Craft)裡，你會發現，他們懂得在時間中偷偷、飽滿地塞進各種來自作者的初心，即使抽掉精湛的技藝仍緊密的接通人與人之間的情感交流，變成一個時代侵蝕不了的產物。
陶藝家千田稚子(Wakako Senda)在這樣的精神中面對自己，將食物、人及自然的「情緒、記憶」和著陶土放在拉坏機上旋轉、塑形，接著送進意識的高溫坑爐中燒製，最終以器皿(Living wares)介入生活，與我們遠距的對話著。所以換個角度，或許你可以想像她質樸、簡潔的作品是被立體化的影子，並跟著她在名為生活的光束下映射出最真實的自己。
One part of “In Praise of Shadows” used to talks about the rapid social phenomenon, the author, Junichiro Tanizaki, thinks we living in this kind of lifestyle easier lose patience than before, and we not easy to focus on one thing with calm mood, so seeking this mood becomes the contemporary lesson for us. Get into the craft of Japan with this thought, you’ll find that Japanese craft man good at stay true to themselves, so even without the skill of making, CRAFT still deeply communicates with human beings mind by their true hearts and not be eroded by this era.
Japanese Ceramicist Wakako Senda keeps this preciously true heart to put memories of foods, friends and nature on the hand modeling machine of pottery, and then send them into oven, at last intervene in LIFE with living wares to communicate with other people! So let’s turn the different angle to see her works by imaging they are the 3D shadows, and then we could follow her to see our real under the light of life.
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UNIRALPH (R)
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陶藝因為與生活有著高度交集，所以常因顏色或形態被與溫暖畫上等號，但妳卻以大量無彩色最為作品基底，這是想傳遞怎樣的氛圍與溫度呢?
Pottery is often connected with life wares and equaled WARM stuff. As we know you often put black and white into works, so what kinds of atmosphere you want to bring for us?
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WAKAKO (W)
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首先無彩度是能與生活進行緊密搭配的顏色，尤其黑與白。因為器皿大多盛裝料理，所以這樣的色彩設定不但襯托食物的層次，也帶出用餐時的想像!
Achromatic colors, especially Black and White are good to match with others! If food wares with these colors they might easier to set off colors of foods and brings more imagination when having a meal also.
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R
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相較西方對強光、明亮的藝術偏好，日本更著重於陰影、朦朧在美學中扮演重要的位置，這樣的文化美感對你的作品有產生任何的影響嗎?
Compare aesthetics of west of east, the former one is focus on highlight and bright atmosphere, another instead shadows and dim style. So for you, a Japanese artist, whether this kind of aesthetics of east effect you a lots when creating?
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W
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影子是我們長年文化關注的現象，這樣的美學的確深入在日本人的心中。雖然我在設計時並無先決意識要創造陰影的感覺，但很自然的成品會蘊含這樣的特徵，如簡單的黑白色彩在對比之下便能產生層次，誕生立體感。
Exactly, shadow is an important element of arts for Japanese. Although I am not purpose on putting dim atmosphere of shadow in my works, but it still show unconsciously! For example, the contrast between black and white could birth visual perception about layer and 3D.
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R
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我們知道妳對料理製作有著很大興趣，也因為「食物」這個元素而推展出妳許多的作品，好奇在體驗台灣的飲食文化後，有沒有為你帶來任何關於創作的想法呢?
We know that the cuisine is an important element to inspire your creation, so please share us any thought after trying Taiwanese cuisine!
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W
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我在台灣享受了許多小吃，也體驗到與日本茶道嚴肅氛圍有著很大落差的台灣飲茶文化。總體來說這塊土地給我的飲食記憶是纖細的，台灣的「小」吃，分量與形式都簡單，但卻有著難忘的口感，所以回去後我想以陶製作可以盛裝我在台灣體驗過的這些種種小吃，小份量的餐點(如小籠包、火雞飯、滷肉飯…)，並將這個文化情感分享給更多日本人。
I experienced many Taiwanese local dishes(小吃) and easy tea culture! For me the impression of Taiwanese local dishes are delicate, they are small amount and simple, but delicious and memorable. So I want to make some new size and shapes of food wares to fit the Taiwanese small amount dishes, and share them with more Taiwanese food cultures to Japanese.
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R
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妳的陶作型態是長時間吸收與轉譯後創作成果，簡單卻獨特。可以請妳跟我們聊聊曾感染妳的藝術家嗎?
We could find out that your simple but unique living wares are based on long-time life experience and experiment. So could you share us a few artists who influenced you most?
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W
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我受兩位藝術家深厚影響。一位是我曾以系列致敬的英國陶藝家Lucie Rie，她的作品雖以纖細輕薄為特徵，但僅單個放在空間裡就有著不容忽視的美與存在感。而另一位則是專注於靜物主題的義大利畫家Giorgio Morandi，他「一生仕事」的毅力與畫面安穩寧靜相當觸動我。
I inspired by two artists. One is British ceramicist Lucy Rie who I used to pay tribute to by series of pottery, even her works are delicate and light but still have strong visual attraction when in any space. Another is an Italian painter Giorgio Morandi, I specially admire his will to focus on still-life which with silence atmosphere.
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R
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你的作品目前涉及了食器、花器、別針…等等，在未來妳有計畫以什麼新媒介再次介入生活嗎?
Now your works have few types like food wares, vase, pin…and so on, in future do you have any plan for your crafts?
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W
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在日本工藝界有個叫「用之美」的概念，即物件本身能夠使用，若不使用時也能顯現其附加美感，而這也是我一直以來的創作核心。對我來說任何新計畫大都源自生活在不經意間帶給我的課題，例如為了盛裝某道我製作的料理，所以我也很好奇下次將成就著怎樣形式的作品!
In Japanese craft, we have a common concept that called「Aesthetics of Use」, It means even we don’t use this stuff but it still a beautiful existence with function of decoration, and this is one of my beliefs as well. For me, I don’t purpose to schedule any creation, all my works come from my life, and they depend on what I need, like their original concept might just to fit a dished which I made, so I am curious and expect to what would be made next time as you.
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R
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最後我想問問，就妳而言，一件將終身陪伴自己的生活工藝會有著怎樣的特質呢?
Last, I want to know what kind of traits do living craft which would accompany with all your lifetime would have?
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W
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簡單的造型設計與使用機能所孕育的雋永感吧! 但這聽起來不就是工業製品能達成的設定嗎? 為了在這之中尋求溫度與變化，人的因素也需要一起介入其中。好比我在創作時雖然不斷尋求著極簡的線條，但基於手工拉製，每件作品還是意外的產生微妙變化，這樣自然的型態將是陪伴我們一生的美好元素。
Simple shape and easy function are attractive elements for me! Superficially it is easy to achieve by industrial production, but to seek warm and diversification, human beings should involve in production in person. Like I constantly making the simple figure of pottery by hand modeling and you can see the subtle changes in minimal outlines , this kind of nature is an important part for something we might use for all lifetime!
如果可以給Wakako San貼上一枚標籤，那會是「真實」，真實的待客之道、真實的生活態度、真實的愛以及真實的作品，關於記憶與它的影子們 : 千田稚子陶展。
If I can put an objective label on Wakako San that would be ”REAL”, the REAL hospitality, the REAL lifestyle, the REAL love and REAL works. About the memories with its shadows : Wakako Senda.
● 追蹤Wakako Senda 更多創作 Exploring more works
http://ww61.tiki.ne.jp/~yu-lab/
www.instagram.com/mamewaka/?hl=zh-tw
photo credits Chih-Hsien Chen, Ralph Lin and UNIRALPH
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