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AN INTRODUCTION TO A MAN AND HIS ART / Vancouver's LIfe Style Magazine article
HiDeL Ebinafs Porcelights, like the rest of his ceramic artworks, are not complete until they have an everyday use | and everyday user
by BEVERLY CRAMP
Ten years ago, HiDeL Ebina was working in his poorly lit studio in an East Vancouver basement when a shaft of sunlight landed on one of his porcelain bowls.gI saw how the light made the bowl translucent,h says Ebina. It was a break-through moment for the Japan-raised ceramic artist who chose to stay in Canada after a visit 14 years ago.Ebina immediately began experimenting with lights of various shapes and sizes. He also continued to refine the particular clay mixture that produced his fine translucent ceramic lights. gI started with a lesser-quality clay. It has taken me a long time to evolve to the present form. I canft tell you about the formula because itfs a secret,h he says with a conspiratorial smile.Ebina calls these creations gPorcelightsh and each is as individual as a finger print. Porcelights are made one at a time, thrown from Ebinafs potter wheel, altered and assembled by hand. Unlit, these ceramic pieces look like sculptures. They become transformed when the light is turned on and shed a golden glow.Many of Ebinafs Porcelights have the flowing, rounded lines of organic forms such as spiny sea urchins or ridged bamboo poles. Others resemble sea shells or clam shells wired together. Still others have more stylized shapes such as cylinders or bells. Bits of metal or glass have been worked into some of the soft porcelain surfaces. But all are made utilizing traditional Japanese techniques in a refreshing new way. READ MORE
Working on clay is like
playing music. Sound fades away before you can catch it.
You have to move before you know how to play with it. Because
of its transient and invisible character, sound is likely
to reach our soul directly, without being blocked or translated
by consciousness. Clay is a versatile, fast-moving material
that runs away when you try to grab it. Just as Carl G.Jung
attempted to paint a picture of the dynamic human consciousness
for us to behold through his theories, so too is finished
fired clay presented for our scrutiny, with its movements
now frozen in hard, cold and fragile state. Emptying your-self
and letting the shadow of the substance flow into that emptiness
naturally, is the only way that you can feel and listen to
what its vibrations want to say. Pieces I make are the assembled
relics of my actions which were took, on and off the wheel.
I want you to feel my works in the same way you listen to
music, so I can strum the string of your soul.