Ben Uri Research Unit

Born: 1980 Osaka, Japan

Year of Migration to the UK: 1992

Biography

Artist Nao Matsunaga was born in Osaka, Japan, in 1980. At the age of 12, he moved to England to attend Summerhill, a progressive boarding school in Suffolk, renowned for its emphasis on democratic governance and self-directed learning. This unconventional education fostered a sense of individuality and creative freedom, values that continue to shape his artistic practice. Matsunaga subsequently studied at the University of Brighton, earning a BA in Wood, Metal, Ceramic, and Plastic Design in 2002. This multidisciplinary course allowed him to experiment widely with materials and techniques, laying the foundation for his exploratory and innovative approach to making. He further refined his skills and conceptual focus at the Royal College of Art in London, completing an MA in Ceramics and Glass in 2007.

Matsunaga’s practice reflects his dual cultural identity, drawing upon his Japanese heritage and the cultural influences of his adopted home in England. Based in London, he bridges historical, cultural, and material explorations, frequently focusing on the ceremonial and ritualistic aspects of human experience. His work examines how early humans engaged with their environments, sharing traditions across cultures, and how these primal practices resonate in contemporary life. His sculptures, ceramics, and paintings evoke universal themes, while embodying a distinctly modern sensibility. Improvisation is at the heart of Matsunaga’s creative philosophy. His approach has been likened to jazz improvisation, compared to Herbie Hancock’s story of a ‘wrong note’ transformed by Miles Davis into a brilliant new direction. Matsunaga similarly embraces accidents, viewing them as opportunities for innovation and creative growth (Adamson 2018). This philosophy underpins his cycles of deskilling and reskilling, where he deliberately challenges his expertise to reconnect with the instinctive act of making. His ‘slap building’ technique—where clay is shaped by smacking it in his palms—creates uneven, dynamic forms that welcome unpredictability during firing. Similarly, his ‘blanket glazing’ method involves layering thick chunks of glaze that melt and shift in the kiln, producing rich, textured surfaces. Extending these ideas to his painting practice, Matsunaga uses PVA glue mixed with raw pigments, humorously referring to it as ‘room-temperature glaze’ (Adamson 2018). Matsunaga’s diverse body of work underscores his adaptability and creativity. From fragmentary ‘pots’ assembled from fired clay pieces to tall ceramic and wooden columns intuitively shaped with an axe, his pieces reflect a commitment to preserving immediacy and movement. Among his most distinctive works are wall-mounted mask sculptures, which explore abstraction and perception. Inspired during moments of waiting in the studio, these masks evoke human faces while maintaining a deliberate ambiguity. Drawing on global traditions, including pre-Columbian ceramics, African woodcarvings, and ancient Chinese bronzes, Matsunaga connects his work to shared cultural legacies and universal human themes.

Residencies have been pivotal to Matsunaga’s development, providing opportunities to immerse himself in diverse environments and expand his artistic vision. In 2010, he completed a residency at Cove Park in Scotland, followed by others at the National Academy of Art in Oslo (2015) and LaunchPad LaB in France (2021). A six-month residency at the V&A in London in 2014 allowed him to explore the museum’s collections, culminating in a 'mythical beast hunt' project. This investigation exemplified his interest in universal themes, as he examined global artifacts to draw connections across cultures.

Matsunaga has e xhibited widely. His solo show Hybrid of sorts/Hybrid of Thoughts at Yamamoto Keiko Rochaix Gallery in London (2020) showcased works created during residencies in the Czech Republic and France, featuring circular ceramic reliefs with vibrant glazes and energetic paintings, reflecting his joy in returning to the material after a pandemic-induced hiatus. In 2024, he participated in the two-person exhibition Yoi Kawakubo / Nao Matsunaga, also at Yamamoto Keiko Rochaix, where his sculptures were juxtaposed with Kawakubo’s works, exploring themes of memory, materiality, and physical presence. The exhibition My Primal Memory, held in 2012 at the Daiwa Foundation Japan House Gallery in London, explored Matsunaga's dual cultural and national identity. Reflecting on his formative years in Japan and his later childhood in England, the show used primal materials and tools to connect with ancient cultures and draw parallels between universal human behaviours and his own search for a unified sense of self. This deeply personal yet universally resonant exhibition underscored Matsunaga’s ability to blend individual narratives with collective memory. Recognised for his innovative approach, Matsunaga was a finalist in the Jerwood Makers Open in 2012 and won the British Ceramics Biennial Award in 2013. He has also received scholarships and grants, including the Anglo-Sweden Society Bursary and a Leverhulme Trust grant. In the UK public domain, Nao Matsunaga's work is held by the Crafts Council, Victoria and Albert Museum, and the York Museum and Art Gallery. Matsunaga is represented by the Marsden Woo Gallery in London.

Related books

David Whiting and Anthony Shaw, Seeing with Another Eye: the Anthony Shaw Collection (Stuggart: Arnoldsche, 2024)
Ashley Thorpe, Contemporary British Ceramics (Ramsbury: The Crowood Press, 2021)
Shonagh Manson, Tanya Harrod and Glenn Adamson eds., James Rigler, Louis Thompson, Nao Matsunaga, Silvia Weindenbach, William Shannon, exhibition catalogue (London: Jerwood Visual Arts, 2012)

Public collections

Victoria and Albert Collection

Related organisations

Royal College of Art (student)
University of Brighton (student)

Selected exhibitions

Time Capsule: Yoi Kawakubo, Nao Matsunaga, solo exhibition, Yamamoto Keiko Rochaix, London (2024)
Anthony Shaw Collection, group exhibition, Oxford Ceramics, Oxford (2024)
An Exhibition of Small Things with Big Ideas, group exhibition, White Conduit Projects, London (2023)
Freedom to Create, group exhibition, Institute of Education, London (2022)
Hybrid of sorts/Hybrid of thoughts, solo exhibition, Yamamoto Keiko Rochaix, London (2022)
Deepcuts, solo exhibition, Marsden Woo Gallery, London, curated by Anthony Shaw (2020)
Barefoot, group exhibition, Large Glass, London (2019)
Winter Group Show, group exhibition, Marsden Woo Gallery, London (2019)
Things of Beauty Growing, group exhibition, Fitzwilliam Museum, Cambridge (2018)
Raw Faces, solo exhibition, Crafts Study Centre, University for the Creative Arts, Farnham, Surrey (2018)
Timepiece, group exhibition, Marsden Woo Gallery, London (2016)
Material Language: New Work in Clay, group exhibition, New Art Centre, Roche Court, Wiltshire (2016)
Standing on the Verge/Live Up, solo exhibition, British Ceramics Biennial, Stoke-on-Trent, Staffordshire (2015)
Monster Rock Circle, solo exhibition, Marsden Woo Gallery, London (2015)
Mixed Display, group exhibition, Marsden Woo Gallery, London (2014)
Live Up/Blank Totem, solo exhibition, London Design Festival, Victoria & Albert Museum, London (2014)
Jerwood Makers Open 2012, group exhibition, Jerwood Space, London (2012)
My Primal Memory, solo exhibition, Daiwa Foundation Japan House, London (2012)
Gallery Artists Show, group exhibition, Marsden Woo Gallery, London (2011)
Introducing: Nao Matsunaga, Kerry Jameson, Dawn Youll, solo exhibition, Marsden Woo Gallery, London (2011)
Great Exhibition, group exhibition, Royal College of Art, London (2007)
Bath and Doorway, solo exhibition, Hockney Gallery, Royal College of Art, London (2006)
Starecase, solo exhibition, Mojoe, Church Street, Brighton, Sussex (2002)

Ben Uri archive

Consult items in the Ben Uri archive related to [Nao Matsunaga ]

Ben Uri Research Unit

for the study and digital recording of the Jewish, Refugee and wide Immigrant contribution to British visual culture since 1900.

Nao Matsunaga artist