Сын керамистов, его художественное образование включает изучение архитектуры в Университете Мэйдзё (2010 г.), окончание Лаборатории Керамического Дизайна города Тадзими (2013 г.) и окончание Ремесленной Мастерской Канадзава Уцацуяма (2016 г.).
Мацунага широко выставляется по всей Японии как в галереях, так и на выставках, а также выиграл несколько наград, в том числе на Конкурсе Современных Ремёсел Такаока (2013).
Работы Мацунага уходят корнями в японские керамические традиции, но в них используются неожиданные детали и техника, в результате чего создается его особенный стиль.
Персональный сайт мастера
Selected Solo Exhibitions
2020 Desert Anthill / Zebra,Utsuwa Note, Saitama, Japan
KEITA MATSUNAGA ,Sibuya Kurodatoen,Tokyo,Japan
2019 KEITA MATSUNAGA, Nonaka-Hill, Los Angeles
2018 Monuke, Utsuwa Note, Saitama, Japan
sukuu, Koubou Ikuko, Okayama, Japan
fireworks, Gallery Suki, Aichi, Japan
KEITA MATSUNAGA, Nihonbashi Mitsukoshi, Tokyo, Japan
2017 Horizon, atelier & gallery CREAVA, Ishikawa, Japan
KEITA MATSUNAGA, Meguro tougeikan, Mie, Japan
2016 Mars Gravity Gallery, Utsuwa Note, Saitama, Japan
KEITA MATSUNAGA, ishoken gallery, Gifu, Japan
KEITA MATSUNAGA, Gallery Tousei, Osaka, Japan
void of space, pragmata, Tokyo, Japan
KEITA MATSUNAGA, Gallery kamokamo, Hokkaido, Japan
2015 Abode of Beginning, Space Ohara, Gifu, Japan
Selected Group Exhibitions
2020 Yoko Tanaka/Keita Katsunaga, Atelie Hiro, Osaka, Japan
Eiji Uematsu/Tomonari Hashimoto/Keita Katsunaga, t.gallery, Tokyo, Japan
2019 ±8 ― A Group Exhibition of Contemporary Ceramics, SHOP Taka Ishii Gallery,Hong Kong
Paramita Ceramic Art Exhibition,Paramita Museum, Mie, Japan
2017 Art Fair Tokyo, Tokyo, Japan
2016 Art Fair Tokyo, Tokyo, Japan
BISAI JUNREI, Sun Motoyama Ginza, Tokyo, Japan
Thickness of 100 tons, Shiinoki Cultural Complex, Ishikawa Prefecture, Kanazawa, Japan
2015 Kiwami, Sin Sin Fine Art, Hong Kong
Le Mino-yaki, cinq siècles de fascination, Espace L'Une, Pari, France
Art Fair Tokyo, Tokyo, Japan
23rd Japan Ceramic Art Exhibition, Tokyo, Japan
2014 agnès loves japon / Isetan Shinjuku, agnès b Aoyama, Tokyo, Japan
KOBE ART MARCHE, Hyogo, Japan
SelectionsⅥ, gallery suki, Aichi, Japan
2014 Thickness of 100 tons, Shiinoki Cultural Complex, Ishikawa Prefecture, Kanazawa, Japan
Ceramics of current - form is made from the clay-Part ⅩⅢ, gallery VOICE, Gifu, Japan
NEW CERAMISTS FROM MINO, gleen natural store tokyo, Tokyo, Japan
2013 EMERGING DIRECTORS'ARTFAIR ULTRA006, Spiral, Tokyo, Japan
International Ceramics Festival Mino, Gifu, Japan
2017 Selected for the 11th International Ceramic Exhibition Mino, Gifu, Japan.
2016 Honorable Mention, the 24th Tableware Festival, Tokyo, Japan.
Encouragement Award, the 72nd Kanazawa Kogei Exhibition, Kanazawa, Japan.
2015 Selected for the 6th Kikuchi Biennal, Tokyo, Japan.
Selected for the 23rd Japan Ceramic Exhibition.
2014 Selected for the 10h International Ceramic Festival Mino, Gifu, Japan.
Judge Award, the 22nd Tableware Festival, Tokyo, Japan.
Encouragement Award, International Itami Craft Exhibition, Hyogo, Japan.
Encouragement Award, by the Mayor of Kanazawa, the 70th Kanazawa Kogei
Exhibition, Kanazawa, Japan.
2013 Grand Prize, Takaoka Contemporary Craft Competition, Toyama, Japan
Museum and Public collection
The Museum of Ceramic Art, Hyogo, Japan
Review: Look closely. With Keita Matsunaga’s ceramics, there’s more than meets the eye
Keita Matsunaga’s ceramics have been installed at the L.A. gallery Nonaka-Hill on a scaffolding that mirrors the architectural nature of the work. (Taka Nonaka-Hill / Nonaka-Hill)
The striking installation of ceramic works at Nonaka-Hill makes Keita Matsunaga’s interest in architecture immediately apparent. The artist has set his sculptures on shelves at different heights within a metal scaffold, playing their hand-built organic forms and earthen surfaces against the structure’s angularity and uniform industrial material.
That binary opposition, visually arresting as it is, ultimately gives way to a deeper, even more provocative conversation between the two fields that Matsunaga has worked in and studied. His ceramic sculptures engage the same fundamentals as architecture: site, function and the shaping of space. The works in his first U.S. show are enrapturing.
Keita Matsunaga at Nonaka-Hill: “Void-monuke,” 2019, ceramic, urushi, glaze. (Taka Nonaka-Hill / Nonaka-Hill)
Most within the large installation resemble pods or husks, some small enough to rest in the hand, others more than 2 feet wide. The walls of the vessels curl together but do not seal, leaving irregular openings to the dark voids within, and giving the impression of objects emptied, spent.
Surfaces are richly varied — some humble, muted in tone and rugged; others smooth and vibrantly color-saturated. Matsunaga uses glazes, photo decals, discarded ceramic rubble and urushi (sap from the lacquer tree) to create textures and effects that blur the boundary between tradition and invention.
The work here is made with with acute sensitivity to place. In one case, clays sourced from different locales are layered, their different compositions yielding a stunning surface with fine vertical fissures like woodgrain cracked open by fire.
The ceramics-making area of Tajimi, Japan, where Matsunaga lives, and the Center for Contemporary Ceramics at Cal State Long Beach, where he recently spent a month in residence, both assert themselves — visually and materially — in astonishing ways. Photographs of one locale become the skin for an object made in the other; discards become repurposed, honored as generative. Photographs made near Matsunaga’s Japanese studio are printed on rolls of vinyl that hang from the metal scaffold and scroll to the floor, where they serve as background context to the sculptures on view as well as physical foundation for several pieces placed upon them.
Keita Matsunaga at Nonaka-Hill: “Organism,” 2019, ceramic, glaze, decal, 7-7/8 inches by 4-1/2 inches by 4-1/4 inches(Taka Nonanka-Hill / Nonaka-Hill)
Matsunaga marries material, concept, form, process and representation with unusual vigor. The vertical stripes on one solid upright monochrome piece are actually a photographic image of the light and shadow on a corrugated wall. One pod-like work looks delicately inked with indigo lines, but the veins are actually photo-decals of one cracked vessel, fused to another.
The self-referencing and cross-referencing operate on multiple levels at once, captivating the eye, electrifying the mind and rousing the body to a heightened awareness of space.
“Void-monuke,” 2017, natural clay, decal, glaze, urushi, 11-13/16 inches by 31-1/2 inches by 12-5/8 inches(Taka Nonaka-Hill / Nonaka-Hill)
“Void-monuke,” 2019, ceramic, minerals, 18-3/4 inches by 24-1/4 inches by 18-1/8 inches(Taka Nonaka-Hill / Nonaka-Hill)
By LEAH OLLMAN