Takeshi Yasuda was born in Tokyo, Japan in 1943, relocating to England in 1973, where he became a central figure in the British ceramics community. His artistic practice, deeply influenced by his Japanese heritage, challenges conventional symmetry and functionality, exploring the dynamic interplay between form, material, and the forces of gravity and centrifugal motion. Yasuda's innovative techniques, like the unique creation of ragged, rippling rims and the experimental unfolding and folding series, showcase his commitment to pushing the boundaries of traditional pottery.
Potter Takeshi Yasuda was born on 1 January 1943 in Tokyo, Japan. His formative years in pottery began after a student field trip to Mashiko, Japan, at the age of 19, sparking a lifelong passion. He was soon apprenticed at the Daisei-Gama Pottery (1963–66), leading to the establishment of his own studio in the town in 1966. Yasuda's early creations in stoneware clay were characterised by traditional firing techniques and by the use of white slip glazes, enhanced with manganese and copper to produce captivating effects that highlighted the intricacies of form and texture.
In 1973, Yasuda's artistic journey took a significant turn as he relocated to England, a move that introduced him to a new realm of materials and technologies, including different clay types and electric kilns. In England, he established workshops in Hampshire, Devon, and Bath, becoming a central figure in the British ceramics community. The late 1990s marked another evolution in Yasuda's work, with the development of his creamware, using porcelain clay to create pieces of elegant simplicity, focusing on the purity of form and the celebration of functional beauty. Yasuda's work during this period was characterised by a minimalist palette and fluid shapes, inviting engagement not just with the eyes but with touch as well. Yasuda's influence extended beyond his studio, as he took on various teaching positions, eventually becoming a Professor of Applied Arts at the University of Ulster (1992–2001) and, since 1997, a tutor at the Royal College of Art, London. His teaching philosophy, deeply rooted in the tactile and expressive qualities of clay, aims to inspire students to explore beyond the technical aspects of pottery and engage with the material in a more profound and personal way.
Yasuda's work, rooted in his Japanese heritage, encompasses wheel-thrown vessels that blend functionality with symbolic visual appeal. Contrasting with the Western tradition of predefined object functions, his approach is inspired by the Japanese way of thinking that the user discovers an object's purpose. This philosophy informs his open-ended creation process, allowing his pieces to surpass traditional roles and invite diverse interpretations and interactions. Yasuda’s creations explore the intricate interplay between centrifugal motion and gravity, emphasising how these forces shape the creative process. He believes that potters must not only recognise these forces, but also engage with them actively, allowing their influence to inform the expression and form of their creations. He has declared, ‘Gravity is not just wheel throwing. In fact we are living in it. We are using it. We are coping with it and we are against it. But nevertheless it is always there’ (interview with Andrew Buck). Yasuda's philosophy intertwines idea, action, effect, and material, highlighting the complex balance between conceptual intentions and the physical characteristics of clay.
Yasuda's pots are both refined and unpolished, embodying a deliberate departure from conventional symmetry. This choice reflects his exploration of form, emphasising a natural and dynamic aesthetic over strict adherence to traditional shapes. The process of creating stemmed cups directly off the hump, coupled with the intentional preservation of throwing marks and the decision not to turn pots, underscores Yasuda's commitment to showcasing the raw and lively nature of clay, contributing to the sense of spontaneity and movement in his work. A signature element is the ragged, rippling rims on his pots. The unique method he employs to achieve this effect —violently inverting the batt to drop a doughnut of clay and leave behind these distinctive rims— is emblematic of his willingness to challenge and reinterpret traditional pottery techniques. Yasuda's innovative approach is exemplified his Unfolding and Folding series, which showcase his willingness to experiment with the materiality of clay. By collapsing forms on the wheel and then hanging them upside down to stretch out as they dry, Yasuda introduces a novel process that challenges the traditional boundaries of the medium. Yasuda's artistic exploration took a global turn in 2005 when he established a second studio in Jingdezhen, China, where he continues to expand his repertoire, experimenting with celadon glazes and various porcelain clays. His work in China reflects a synthesis of his Japanese roots and the influences of his adopted homes in the UK and China, resulting in pieces that are both deeply personal and universally appealing.
Yasuda has exhibited widely, both in the UK and internationally. In 2013, a retrospective exhibition was held at Goldmark Gallery to celebrate his 70th birthday. This was followed by another solo show at Goldmark in 2019, featuring 200 new pots. Recent group exhibitions include Home from Home, Contemporary Applied Arts, London (2017) and the Loewe Craft Prize Exhibition, Design Museum, London (2018). In the UK public domain, his work is represented in collections of the Victoria and Albert Museum, British Council, and Sainsbury Centre for the Visual Arts (University of East Anglia), among others.
Consult items in the Ben Uri archive related to [Takeshi Yasuda]
Publications related to [Takeshi Yasuda] in the Ben Uri Library