Collect 2018: Q&A with ESH Gallery

Yoichiro Kamei is exhibiting with you again at COLLECT 2018. What appeals to you about his work and how does he achieve such mind-boggling forms?

Kamei’s extraordinary lattice receptacles, made by slip casting porcelain, are for me proper pieces of art. The idea, which comes from minimalist, is adapted to the basic principle of light and shadow that permeates the attitude of Japanese art. Then, thanks to an extraordinary mastery of the technique, the artist is able to create those incredible forms allowing us to really perceive space through the use of light. 

Many of the makers represented by ESH have unorthodox, intricate or painstaking techniques, how important is this to you as a gallerist?

Because I come from an antiques background, the ability of an artist is quite important for me. I’m perfectly aware art has changed since the beginning of the twentieth century with Marcel Duchamp, but for me discovering how an idea or a concept could be transformed into a work of art via real skill is necessary to better appreciate a piece.

Tell us about some of the processes behind some other works you’re exhibiting at COLLECT?

Other artworks are definitely attractive in terms of technique and achievements: porcelain masterpieces by Sueharu Fukami, white porcelain vases by Akio Niisato, lacquer bamboo pieces by Shingo Muramoto, blue and sgraffito earthenware by Shinya Tanoue, carved paper porcelain by Domitilla Biondi or glass sculptures by Oki Izumi and Yoshiaki Kojiro.

For instance Niisato’s technique is quite complex and is achieved by working the porcelain on the wheel up to an extremely reduced thickness. Then – before the piece starts to dry – Niisato begins to drill the surface in order to obtain a predetermined design with small holes of different diameters. Finally it is glazed and fired to cover perfectly all the holes, but still allowing light to flow through. 

Muramoto instead acts within the Japanese tradition of the lacquer technique. He wraps bamboo branches with fine gauze and then starts to apply several layers of urushi (Japanese lacquer). In some cases he sparkles the lacquered surface with gold, mother-of-pearl or silver powder. I discovered Domitilla Biondi’s incredible work during the last COLLECT and immediately took the chance to work with her. Starting from her carving technique on Fabriano ivory paper, she has developed a way to transfer her work on porcelain. 

How has the attitude to craft changed in Italy over the past decade?

I opened my gallery in 2014 with a limited background in craft but with a lot of experience in other fields of the arts. Since then it has been hard work to deal with the Italian public because they are mainly focused on contemporary art or historical design. Often they need to recognise a name rather than the piece of art as it is. The regular question I have to constantly answer is: “Why should I buy this Japanese artist instead of a piece by an Italian artist who is widely known?” Also the majority of collectors don’t feel that craft can be taken into consideration alongside fine arts, but at the same time, they don’t have any problems with buying ceramics by Lucio Fontana, Fausto Melotti or Giò Ponti. My job as a gallerist is to explain my vision to the public and the road ahead is still long…