My work is a result of universal coping mechanisms manifested during times of humility, humor, trauma, and contradiction. Overindulgence is a common theme in my work, expressed with junk foods and over-the-top embellishments. I often utilize the “more is more” approach with colorful sprinkles, clusters of blooming flowers, various meats, or whatever makes sense for a particular piece. With my ceramic work I aim to celebrate the mundane. Whether that be through a relatable mug, a highly decorative cake stand, or an oddly adorable sculpture, I hope to elevate and bring joy to the everyday experience.

Kensuke Yamada (b. Kamakura, Kanagawa, Japan) received his MFA from the University of Montana in 2009 and has a BA from The Evergreen State College, in Olympia, Washington. He has participated in artist residency programs at The Archie Bray Foundation, The clay studio Philadelphia,Tyler School of Art, and Cheekwood, and his sculptures have been exhibited nationally and internationally. He is currently teaching at University of Arkansas at Little Rock.

I am an artist specializing in primitive firing techniques and the fine art of Raku. Raku generally refers to a type of low-firing process that was inspired by ceremonial tea ware of the Zen Buddhist Masters. There have been many variations to this process over the years. I am fascinated with ancient cultures and the primitive firing techniques used to create various colors and patterns on the surface of the ware. I find the cultural significance of these processes both motivating and inspiring and I especially love these methods because of their organic nature. Earth, water, and fire are integral parts of each creation and every piece is unique. There are many variables that can influence the final piece during the firing process. While the results cannot be fully controlled, over the past 25 years I have learned ways of influencing serendipity to achieve my desired results.

I tell visual stories with the use of animal imagery. In my work I wrestle with existential questions of life and death through the symbolism of the body and animals. My intensely saturated ceramic figures represent the decadence of worldly pleasures, a vibrant source of energy that is antithetical to death and dying. It is through embracing life and living that the pull of death and suffering is kept at a distance. Like Aesop’s Fables, animals such as dogs, rabbits, crabs, monkeys and frogs provide a vehicle to express the human condition. Animal imagery is the beginning of a deeper understanding of humanity.