Imai Hyōe

1951 Born in Hagiwara, Gifu Prefecture
1973 Studied ceramics in Tajimi and Toki

1981 Special Prize at the Chûnichi International Ceramic Exhibition (Chûnichi kokusai tôgei ten)
1984 Encouragement Prize at the Asahi Ceramic Exhibition (Asahi tôgei shô)
Bronze Prize at the World Triennial Ceramic Exhibition in Zagreb, Croatia
1989 Special Prize at the Asahi Ceramic Exhibition
1991 Mitsukoshi Award at the Japan Ceramic Biennial (Tôgei biennare)
1995 Won entry to the Fletcher Challenge Exhibition, New Zealand
1996 Won entry to the Fletcher Challenge Exhibition, New Zealand
1997 Encouragement Prize at the Kanazawa Crafts Exhibition (Kanazawa kôgei taishô ten)
Chôza Prize at the Chôza Ceramic Exhibition (Chôza-shô tôgei ten)
1998 Encouragement Prize at the Asahi Contemporary Crafts Exhibition (Asahi gendai kurafuto ten)
Kamoda Shôji Prize at the Mashiko Ceramic Exhibition (Mashiko tôgei ten)
Won entry to the Fletcher Challenge Exhibition, New Zealand
1999 Won entry to the 50 MAÎTRES: Les arts appliqués dans le Japon contemporain (Nihon no kôgei 'ima' hyakusen ten), Paris
2000 Solo show at Milestone Art works
2001 Solo show at Gallery Mukyô


Reference:

50 MAÎTRES: Les arts appliqués dans le Japon contemporain (Nihon no kôgei ima hyakusen ten), exhibition catalogue, Tokyo: NHK Promotions, 1999-2000.

Born 1951, Hagiwara, Gifu Prefecture, Japan

While born in Gifu Prefecture, IMAI HYŌE has pursued his career far from the historic, ceramic center of Mino, in the distant area of Gero Onsen. His original focus was on vessels for daily use, but for the past two decades, has explored the world of non-functional, sculptural work.

Employing the slab method of construction, Imai places each element on hemispherical molds, on top of which he uses bands of layered clay to build the form.  The cuts he makes in the connecting layers result in cracks that emphasize the nature of his clay.  After bisque firing, he then applies black glaze to the rim before spraying on an iron slip-glaze on both the interior and exterior of the form. The red color resulting from his high-fire oxidation firing is now his hallmark. For cut works, he then rubs brass on the rim to create a metallic effect. Imai’s work focuses on the texture of clay through the use of minimalistic forms and only a few colors. Unlike traditional ceramics that are designed for viewing close at hand. Imai’s works are created with the expectation that will be seen from afar.