Having visited Japan a dozen times now I am constantly intrigued by surface texture and pattern. I have amassed a vast library of photographs for inspiration. Always drawn to Mans’ effect on his surrounding landscape I delight in observations of a culture that integrates nature into everyday life without fuss or affectation. Patterns created by the natural world become stylised within traditional Japanese design and rather than being considered old and irrelevant they are constantly repurposed, invigorated, incorporated into contemporary art and design, always evolving yet always highly recognisable.
Screenprinted slip designs used on the vessels came from a particularly adventurous trip to the ancient pottery town of Shigaraki. Tools used for mark making were all collected on my journeys, simple things. Hand-carved from a small branch, a pickle fork gives me both parallel lines and memories of Nara. Brushes bought in the backstreets of Asakasa can tell tales of their heritage. Cloth used for printmaking on clay came from Tanjin sen. What adventures have they had? The work for this exhibition has a special stamp, or chop, showing my name in kanji it was made for me in a tiny shop, down a dark alley in Kyoto in early 2020.
The emotion that I am trying to share with the viewer is the clarity of simplicity, an observation of the small things and a truth to materials. A joy of repetition until the action becomes embedded and a delight in observing the ephemeral, yet eternal beauty of decay.
Two decades of memories and experiences come flooding back as I look at my photographs, so many emotions, so much learning, laughter, love and sheer exhaustion! Making the work for this exhibition has been both a joy and an expression of my very deep affection for a Country and it’s people, who have given me so much.
Pat Southwood.
