It's a vessel, it's not a vessel, it's just something that's there.

Masumoto's interest in the world of ceramics was sparked by the tea ceremony he started doing when he was in the third grade of elementary school. I have always loved drawing and illustrating, and when I thought about my future path, I thought, ``I want to make something, and if I want to make something with my own hands, ceramics would be a good choice,'' so I went on to major in ceramics at Kyoto City University of Arts.

Masumoto's introduction to pottery was through the world of tea.
Partly because of this, I had no exposure to so-called "contemporary art" and had little interest in the art scene until I entered university.
What should I make? Even as he wandered every day, he came into contact with many contemporary works of art, and by doing so, he was able to free himself from the fixed ideas and constraints that he had always had inside him.

We hope that it will be accepted not only by art and craft enthusiasts, but also by people who at first glance seem to have a distance from them. One of the things that Masumoto values ​​most is humor, as he wants to create works that can be enjoyed by as many people as possible.

Is it necessary to be particular about the shape of the ``vessel'' to convey ``humor''?
The answer to this question, Masumoto says, is that ``the vessel form can be said to be a device for crafts.'' Vessels are familiar to many people, and there are some common memories and experiences with them. That's why it's an easy-to-understand "symbol." For example, because everyone has a common image that this is a ``pot,'' sympathy spreads from there. Therefore, when it comes to techniques, rather than pursuing his own unique methods, he incorporates old traditional techniques.

However, one of the major characteristics of Masumoto's ``ware'', and one of his own themes for his work, is that Masumoto's works are ``vessels that have no purpose and are made solely for display.'' The plates and urns she creates are there to be displayed, without serving food or arranging flowers.

One of the works that had a great influence on Masumoto's production was ``Tsuru no Kama'' by Josei Onishi, a pot maker from the early Edo period. When Masumoto saw this work, in which a large crane was built to cover a pot, he said, ``I thought it was almost a crane.'' Masumoto was strongly impressed by the way the crane, which was originally supposed to be an accessory to the kettle, broke that relationship and naturally existed as a form.

When the vessel and the decoration (motif) come together in a fusion where neither can be considered master or subordinate, a work is created that cannot be called a vessel or a sculpture, nor can it be called a craft or art. Something you've never seen before, something that makes you smile. I create works that brighten the mood of those who see them, and even give them a sense of freedom.
That isKeiko MasumotoThis is probably the main attraction of her work and her unique personality.

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