For more than fifteen years, Japanese potter Akio Nukaga has been an integral part of the Heath family. Since meeting in 2009, we’ve had the privilege of hosting his work numerous times—and witnessing his journey as an artist along the way. This summer, that journey continues with the first-ever showcase of Akio’s work alongside his daughter, fellow ceramicist Ayano Shioya.
Both artists bring a unique set of sensibilities, techniques, and materials to their work, but the mutual influence is unmistakable. The resulting showcase—Ayano’s first in the US—expresses two distinct points of view while maintaining remarkable cohesion and focus.
Akio & Ayano: Father and Daughter is both a celebration of familial bonds and an encapsulation of what craft is all about: traditions passing from one hand to another, across generations and across oceans.
The show starts on Saturday, July 27 with an Opening Party and closes with a talk/demonstration on Sunday, July 28—both happening at Heath San Francisco. Work from both artists will be available for purchase at both events, and a selection of pieces will be made available online on Tuesday, August 13.
Be sure to RSVP below, and then read on to hear Akio and Ayano’s reflections on the collection.
Reserve your spots
Both artists bring a unique set of sensibilities, techniques, and materials to their work, but the mutual influence is unmistakable. The resulting showcase—Ayano’s first in the US—expresses two distinct points of view while maintaining remarkable cohesion and focus.
Akio & Ayano: Father and Daughter is both a celebration of familial bonds and an encapsulation of what craft is all about: traditions passing from one hand to another, across generations and across oceans.
The show starts on Saturday, July 27 with an Opening Party and closes with a talk/demonstration on Sunday, July 28—both happening at Heath San Francisco. Work from both artists will be available for purchase at both events, and a selection of pieces will be made available online on Tuesday, August 13.
Be sure to RSVP below, and then read on to hear Akio and Ayano’s reflections on the collection.
Akio Nukaga
This is your first showcase with Ayano. How are you feeling?
We are very grateful to Heath for hosting this exhibition. I hope it’ll encourage Ayano to continue creating.
How would you describe the pieces you made for this collection?
In this exhibition, as I celebrate the 15th anniversary of my partnership with Heath, I’m looking back at past works challenging myself to create new expressions. The theme of this collection is “the beauty of imperfection.”
What do you find compelling about “imperfect” forms?
Many years ago, I had a failed piece that had not been fired yet. I intentionally cracked it, and was surprised by how interesting the results were. Based on that experience, I wanted to pursue this idea further, but in my younger days, it seemed out of reach.
Then, this year, I came across The Book of Tea by Kakuzo Okakura (a legend of Japanese modern art), which discusses the “beauty of imperfection” and its role in the traditional Japanese tea ceremony. Okakura notes that imperfect objects invite us to use our imaginations—to “complete” them in our mind’s eye. His ideas inspired me to think beyond symmetry and explore imbalance, which gave way to Imperfect Vessels. I hope you’ll enjoy it and let your imagination run wild!
What do you admire most about Ayano's work?
What’s interesting about her work is that although the forms are asymmetrical, they give the same impression from every angle. I think this is because the shapes are exquisitely balanced and arranged. The textures and forms are well-matched, and there’s a lot of depth and nuance to capture the eye.
We are very grateful to Heath for hosting this exhibition. I hope it’ll encourage Ayano to continue creating.
How would you describe the pieces you made for this collection?
In this exhibition, as I celebrate the 15th anniversary of my partnership with Heath, I’m looking back at past works challenging myself to create new expressions. The theme of this collection is “the beauty of imperfection.”
What do you find compelling about “imperfect” forms?
Many years ago, I had a failed piece that had not been fired yet. I intentionally cracked it, and was surprised by how interesting the results were. Based on that experience, I wanted to pursue this idea further, but in my younger days, it seemed out of reach.
Then, this year, I came across The Book of Tea by Kakuzo Okakura (a legend of Japanese modern art), which discusses the “beauty of imperfection” and its role in the traditional Japanese tea ceremony. Okakura notes that imperfect objects invite us to use our imaginations—to “complete” them in our mind’s eye. His ideas inspired me to think beyond symmetry and explore imbalance, which gave way to Imperfect Vessels. I hope you’ll enjoy it and let your imagination run wild!
What do you admire most about Ayano's work?
What’s interesting about her work is that although the forms are asymmetrical, they give the same impression from every angle. I think this is because the shapes are exquisitely balanced and arranged. The textures and forms are well-matched, and there’s a lot of depth and nuance to capture the eye.
Ayano Shioya
When did your interest in ceramics begin?
Around 2020, I was in poor health and quit my job as an architect. On my father’s advice, I enrolled in a pottery school in Kasama.
How are you feeling about your first showcase in the US?
The first time I presented my work in public was for a graduation project, so this is the first time since then that I’ve exhibited work for sale. I’m nervous, but I’m excited to see people’s reactions.
Does your background in architecture influence your style as a ceramicist?
Yes. When I work with clay, I approach it like I would when making an architectural model. I think of each piece as a small dwelling, and imagine small people and animals inside.
How would you describe the pieces you made for this collection?
After quitting my job, leaving Tokyo, and returning to my parents’ house in the countryside, I was mentally exhausted. Creating this collection was like therapy for me, and these pieces are inspired by my favorite hiding spots (or Secret Bases) as a child—small, cozy, and safe.
What do you admire most about your father’s work?
My father’s work is rustic—not too modern or seamless. Not too sophisticated.
Around 2020, I was in poor health and quit my job as an architect. On my father’s advice, I enrolled in a pottery school in Kasama.
How are you feeling about your first showcase in the US?
The first time I presented my work in public was for a graduation project, so this is the first time since then that I’ve exhibited work for sale. I’m nervous, but I’m excited to see people’s reactions.
Does your background in architecture influence your style as a ceramicist?
Yes. When I work with clay, I approach it like I would when making an architectural model. I think of each piece as a small dwelling, and imagine small people and animals inside.
How would you describe the pieces you made for this collection?
After quitting my job, leaving Tokyo, and returning to my parents’ house in the countryside, I was mentally exhausted. Creating this collection was like therapy for me, and these pieces are inspired by my favorite hiding spots (or Secret Bases) as a child—small, cozy, and safe.
What do you admire most about your father’s work?
My father’s work is rustic—not too modern or seamless. Not too sophisticated.
Can’t make it?
Pieces from both artists will be available for purchase online on Tuesday, August 13.
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Many years ago, I had a failed piece that had not been fired yet. I intentionally cracked it, and was surprised by how interesting the results were.
