• noiseless chaos, eloquent silence

    Kosi Hidama's pottery work

  • Recent work


  • August 2016




    Tea bowl

    カオリン釉 茶碗

    Espresso cup


    Tea bowls

    鉄釉 小茶碗

    Chawan in Kohiki style


    Chawan in Kohiki style


    Tea cup

    カオリン釉 湯呑み

    Vases in Kohiki style


    Large bowl

    カオリン釉 鉢


    織部釉 大皿

  • July 2016



    hand built vase



    Flower vase with Kaolin glaze


    hands built vase with Oribe glaze

    @ personal abstractions

    various vases

  • Gallery



  • About Kosi Hidama


    After about 30 years of his career as a dancer Kosi Hidama has started throwing the pottery. 






    Kosi Hidama was born in Okayama, Japan. 


    He came over to Belgium in 1993 to work as a dancer. His carrier in dance and performance with Belgian and European artists brought him to the essence of Occidental aesthetics. 


    Meanwhile living as a foreigner in Europe Hidama discovered the profound value of Japanese culture that could still offer various possibility of beauty and philosophy. 


    After the catastrophic earthquake followed by a tremendous tsunami and nuclear accident in Fukushima Hidama met potters who had to evacuate for their life. 


    This experience gave him sorrowful feelings to not only artisans in Fukushima but all the traditional skillful works that is disappearing internationally. 

    In the same time he was fascinated by the possibility of pottery as an art format. 

    Then he decided to start creating pottery work by himself to see what Japanese culture in him could offer in Europe. 


    Soon after he started study pottery at Academie Beeldende Kunsten Anderlecht in Brussels. Axel Vervoordt became interested in Hidama’s work. And in the end of 2013 Vervoordt asked him to produce pottery together. 

    Now Hidama is working for both Axel Vervoordt company’s production and his own creation.

    Artist statement


    “The emperor of the South Sea was called Shu [Brief], the emperor of the North Sea was called Hu [Sudden], and the emperor of the central region was called Hun-tun [Chaos]. Shu and Hu from time to time came together for a meeting in the territory of Hun-tun, and Hun-tun treated them very generously. Shu and Hu discussed how they could repay his kindness. "All men," they said, "have seven openings so they can see, hear, eat, and breathe. But Hun-tun alone doesn't have any. Let's trying boring him some!" Every day they bored another hole, and on the seventh day Hun-tun died.”

    Myth of Hun-tun from Zhuangzi.

    “To me clay symbolizes chaos. Chaos of origin.

    Potters are the descendants of the emperors Shu and Hu, killing Chaos by shaping and drying the clay. In the fire of the kiln, chaos is reborn, transfigured like a phoenix, sometimes bright and shiny like Cinderella, sometimes silent like a sage. I prefer to make silent pieces, for I believe that man gains wisdom each time he goes through fire in his life. I want my work to become an object of wisdom.”

    Kosi Hidama



    In Kosi Hidama’s pottery, usefulness meets beauty. Many Western art forms separate beauty from usefulness, yet Japanese culture endeavors to unite both qualities. As nature creates beautiful things that serve a clear purpose, so practical household items are elevated to works of art. Yet nature can also be chaotic or wasteful. This paradox of the natural world continues to inspire Kosi Hidama in his work as a potter.

    To Hidama, the activity of a potter takes on the form of a chance meeting. The interaction between the clay, the shaping, the glaze, the touch and inspiration of the potter, and the processes that occur in the kiln, adhere to the Japanese principle of “Ichi-go-iche-e”. This aphorism literally translates to “one time, one meeting” and can be understood as “treasure every encounter, for it will never recur”. Thankful for the unique encounter represented in every piece, Kosi uses the phrase “You made me happy by offering something that rarely happens

    to me”, shortened in Japanese to “Arigatou”.

    This unique encounter is incorporated into the pottery, each piece of which has its own narrative. The viewer should leave all words behind and only look, touch and feel the piece, carefully and silently exploring the texture, hardness, weight, shape, pattern of the glaze, … The landscape thus created, transforms with every second, allowing the spectator to become part of it, at peace with his own emotions, pain, joy or hope. A pottery piece becomes a tool of meditation.

  • Contact me for more information about my work.

    Thank you very much.



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