Satoru Hoshino

Japan 1945


Satoru Hoshino
Satoru Hoshino
November 24, 2014
Nina Karaicic is a journalist with experience in TV and radio media. Born in 1989, she had studied at the University of Belgrade – Faculty of Political Sciences (Journalism). Interests: Photography, Art, Film, Folklore, Video Games

Satoru Hoshino is a Japanese artist whose oeuvre includes large-scale installations that can fill entire rooms as well as more intimate objects that can be held in one’s hands. The hand is a visible and prominent element in his works, and when he uses glazes, he allows them to pool and drip rhythmically on the interior and exterior of the works. It is precisely this purposeful engagement of the hand and the material that makes the sculpture appealing, as the artist allows the process of forming and glazing to be his subject.

Satoru Hoshino was born in 1945 in the Niigata Prefecture, Japan and graduated from Ritsumeikan University in 1971. He experienced a turning point in his artistic practice in 1986, when a landslide destroyed his studio. While he had been working in clay for nearly 15 years before the devastation, this event changed his approach towards the medium. Arata Tani described Hoshino’s position regarding clay for Ceramics: Art and Perceptionwhen he wrote, “it is essential to understand that he does not treat clay simply as a material. His encounter with clay as a physical substance is more primal and fundamental.”

The artist considers his interaction with clay to be collaborative, instead of an imposition of his own will on the earthy material. Hoshino writes eloquently on his process for Ceramics: Art and Perception, explaining that;

“I engage in a dialogue with the clay as it sits in from of me, as a soft, flexible lump of matter. This dialogue is carried out through a form of body language: the primitive action of pressing parts of my body (my fingers) against the body of the clay… This is not a relationship in which I am active and the clay is passive, even if I am the first to speak…The dialogue can only take place if I empathise with the material, adjusting myself to the time contained in the clay and the rhythms of nature.”

Satoru Hoshino has been awarded several prizes in his native country, and has lectured and demonstrated in workshops throughout the world. His work is represented in the collections of numerous museums, including The National Museum of Modern Art, Kyoto, the Musée Ariana, Geneva, the Victoria and Albert Museum, London, and the Minneapolis Institute of Arts, Minnesota.

YearExhibition TitleGallery/MuseumSolo/Group
2010 Spiral with Spring Snow, Fu-Guei Gallery, Yingge, TaiwanSolo
2008Spring Snow, Frank Lloyd Gallery, Santa Monica, CaliforniaSolo
2007 Beginning Form - Spiral 07, Gatov Gallery, CSU Long Beach, CaliforniaSolo
2006 Beginning Form - Spiral, Nancy Margolis Gallery, New YorkSolo
2006Beginning Form - Spiral, Schein-Joseph International Museum of Ceramic Art, Alfred, New YorkSolo
2005Beginning Form - Met Spiral, Gallery Den, Osaka, JapanSolo
2004 Black Horse in the Dark, Gallery De Witte, Voet, Amsterdam, The NetherlandsSolo
2003 An afterimage of an old layer, A memory of a geology, Westbeth Gallery, Kozuka, Nagoya, JapanSolo
2002Retrospective, Museum of Modern Art, Shiga, JapanSolo
2002 Appeared Figure, Museum of Modern Art, Shiga, Ootsu, JapanSolo
2002 Birth of Bubbles, Gallery De Witte, Voet, Amsterdam, The NetherlandsSolo
2001 Rain in Ancient Woodland, Victoria & Albert Museum, London, EnglandSolo
2000-2001 Ancient Wood-Land, Province Museum Moderne, Kunst, BelgiumSolo
1999-2000 Reincarnate-Pre-Copernican Mud, Musee Ariana, Geneva, SwitzerlandSolo
1974-1999 Satoru HoshinoGallery Iteza, Kyoto, Japan Solo
1974-1999 Satoru HoshinoBan Art GallerySolo
1974-1999 Satoru HoshinoWestbeth GallerySolo