ceramics
Miwa Neishi
Please tell us a bit about yourself. How did you become a ceramic artist?
Hi, my name is Miwa Neishi. I am from Tokyo and I studied sculpture in Niigata University. I moved to the US to pursue my Master of Fine Arts in sculpture at Kent State University in Ohio. After finishing my MFA I moved to New York and started to work at a studio for contemporary artist, Takashi Murakami. While in NY, I came across a ceramic studio- Sculpture Space NYC, in my neighbourhood and started to build my path with ceramics in 2016.
Were there any practitioners or other artists that influenced you early on?
I was strongly influenced by surrealistic animations from Czech Republic / Slovakia in the 1960s. I first made several stop-motion animations in Niigata. I then decided to create more abstract works with clay, reflecting the thoughts of in-between nature and artificial. After coming to the U.S. I was influenced by the movement of merging and reflecting identity in artwork through learning about artists like Nick Cave, Jiha-Moon, Isamu Noguchi, and also the Mingei movement from Japan.
Can you take us through the process of developing your pieces?
I first draw sketches that contain a lot of Japanese letters, English words, lines and shapes- a little bit like out of the stream of consciousness. And then I develop the form of my pieces as I work between 2D into 3D. I first experiment creating 3D forms with small sizes and then gradually create them into sculptural forms. As I get used to creating certain forms, then I move on to thinking of more challenging structures and textures to better reflect the complexity of thoughts and mindset.
Can you share more about your interest in calligraphy and why is so important to you?
As I grew up in Japan, calligraphy was a part of the foundation of language study. I realised that my memory of practising calligraphy with distinct stroke orders and angles of how the line should be drawn and connected influenced deeply in how I find harmony and aesthetic in forms. And I wanted to apply that historical aspect into the contemporary artwork.
How do you keep an open mind for finding delight in trial, error & experimentation and respond creatively to the challenges of working with clay?
The softness and malleability of clay keeps my mind open. The way I work with clay is very organic and every time the result is different. Just like every day is different, I cannot make the exact same pieces. If a piece does not come out the way I like it, I put it away somewhere else and don't look at it for a little while, and then I get back to it and I realise that was only a reflection of time and my state, so I accept it as it is eventually.
Of course, there are times when I'm down and I cannot even touch the clay. When that happens I draw or play with colours. During the pandemic, I couldn't go to the studio so I learned to create colourful mobiles out of felting dyed wool. Trying out new material helps freshen my mind.
Tell us a bit more about your process of building resilience and fostering a strong work ethic.
I sometimes look back at my old artwork and remember the specific moments and mindset associated with the artwork. It helps me find the flow of ideas in how I made those pieces and brings me back to where I want to go. I also read artists' biographies. It helps me learn how to deal with difficulties of pursuing art, and encourages me when I have a problem with creating or just about life in general.
How important has your practice been for your well-being and mental health?
It definitely helps me connect to society through sharing art in many perspectives- from a maker, from a collector, or even as studio-mates. I believe meeting other artists have helped me feel comfortable about myself and motivated me in helping build creative communities through supporting each other.
Creating artwork also reflects time so it helps me to think that I am leaving parts of paths for the future and hopefully found by someone that needs to learn from the time we are living now.
How can become better at reclaiming traditions & skills, and respecting people & processes?
I think that by being open to learning the deep history of crafts. The diverse elements are found in every tradition that shows the mixture of culture. I think it’s important to always dig a little deeper than the surface of things and know who actually created these paths.
What upcoming projects make you excited right now?
An exhibition at Alison Bradley Project in Chelsea, New York. I am showing several works in a group show, and possibly in Spring, I have another show coming in Tokyo. I hope to keep creating artworks and connecting to makers and collectors from all over the world. That way, we can find better ways to introduce cultures directly and exchange knowledge about living from different places. I hope this to encourage future generations to also find joy in art making.
What upcoming projects make you excited right now?
From my website www.miwaneishi.com and Instagram @miwaclay. Also mainly find my work at the Noguchi museum shop and several stores in NYC and Japan, which are also listed on my website.
All pictures belong to Miwa
