Akihito Morino
Professor and Dean, Faculty of Fine Arts, Kyoto City University of Arts, Japan
Vice Chair, Kiyomizu-yaki Industrial Cooperative Association
Member, I.A.C. (International Academy of Ceramics)
Interview Notes:
He is the Dean of the Faculty of Fine Arts at Kyoto City University of Arts in Japan, having witnessed the growth of countless young creators; he is also a forward-looking figure in Asian ceramics, deeply engaged in ceramic creation for decades. He is Akihito Morino, one of the jurors for the 2026 Jingdezhen International Ceramic Art Biennale.
He is not merely an observer, but a fellow traveler actively participating in the construction of the future.
Faced with the cross-disciplinary wave in contemporary ceramics and young artists eager to break boundaries, Morino’s insights cut to the core of contemporary ceramic art: tradition is not a shackle, boundaries are not walls, and true innovation always begins with free perception and courageous exploration.
Q：Yu Lingna
A：Akihito Morino
Q：How do you view the value of the Jingdezhen International Ceramic Art Biennale? How does it differ from the Mino Ceramic Art Exhibition in Japan?
A：In Japan today, the number and influence of biennales and competitive exhibitions are steadily declining. The path of becoming a “star artist” through winning exhibition awards is becoming increasingly difficult. The Mino Exhibition has managed to continue because its influence is concentrated in the Mino region—winning there brings strong local recognition, which can help an artist establish themselves.
Jingdezhen, however, is one of the world’s major centers of ceramic production. Awards from a biennale held here may carry greater prestige and influence than those from the Mino Exhibition. For artists, winning an award in Jingdezhen is a very positive achievement.
Q：As a juror, what are your observations about the Jingdezhen Biennale?
A：In terms of exhibition design, the distance between works could be increased to improve the viewing experience. Content-wise, its most distinctive feature is the strong “Chinese flavor.” There are many rich elements of Chinese tradition, which is precisely what sets it apart from other international exhibitions and makes it particularly interesting.
Q：How do you see the involvement of new technologies such as AI in ceramic creation? Is using AI a form of cheating?
A：I see digital 3D printing and AI as two different things.
3D printing is like the historical progression from hand-throwing to electric wheels and then to molds—it is a natural technological evolution of each era. It is merely an assisting tool and does not replace creation itself.
AI is different. It can participate in thinking and creation. In the future, everyone will inevitably use it—even if people call for bans, some will still use it secretly. AI-based creation is a new product of our era and represents a positive change.
If I see AI-generated works alongside independently created works in an exhibition, I will view them on equal terms. What I care about is not whether the medium is AI or human, but the overall impression of the final work. After all, behind every prompt is an individual’s unique thinking, and that thinking—and the prompts themselves—are a core part of the creator.
The key issue is not AI as a tool, but the person who gives the instructions. Without a solid theoretical foundation or original ideas of your own, you cannot give AI meaningful prompts.
Q：For traditional craftsmen without an academic background who wish to participate in the Biennale, what changes or adjustments are needed?
A：The core issue is that traditional craftsmanship and contemporary fine art operate within completely different systems in Japan, and the Jingdezhen Biennale leans more toward the “fine art” system.
Therefore, if a traditional craftsman wishes to participate, they must fully accept and learn an entirely new system—the creative and evaluative framework of fine art. It is like having cooked Chinese cuisine all your life and now starting from scratch to learn Western cuisine. It is not about making small adjustments within the old framework, but about fully entering and mastering a new systematic structure, because the orientation of this exhibition is toward “new” creation.
Q：Drawing on the experience of modern ceramic movements such as Japan’s Sōdeisha, what advice would you give to young artists regarding innovation?
A：This is a very complex question, bound up with specific historical and temporal contexts.
The rise of Sōdeisha in Japan was not accidental. From the late Edo period to the early Meiji era, Japanese ceramics gained international fame through world expositions. But around 1900, new European design movements emerged, and Japanese ceramics suddenly fell out of favor, forcing Japan to turn toward Europe for learning. It was only after 1900 that ceramics in Japan were truly elevated from “industry” to “art.”
After 1945, the old system collapsed and new ideas emerged. Ceramics finally broke free from utilitarian constraints and became purely sculptural. Isamu Noguchi was a representative figure of that era. Members of Sōdeisha succeeded precisely because they integrated the essence of traditional crafts—such as Chinese Song dynasty ceramics—into modern sculptural forms, forging their own path.
Thus, the underlying logic of artistic innovation is understanding tradition while also understanding one’s era. Innovation by young people is never a reckless leap into the void; it requires reading the opportunities of the times, rooting oneself deeply in tradition, and then growing into new territories.
Q：In your artistic and educational philosophy, what lies at the core of ceramic creation?
A：This is a fundamental question. In my view, the essence of art is not merely to make “beautiful objects,” but to explore those existences that cannot be seen with the eyes or articulated with language, yet can be perceived through works of art. That is the realm art should truly cultivate.
The possibilities of clay are far broader than we imagine. It can be a bowl for rice, or a non-functional sculpture. I believe that at the beginning of creation, one should not impose limitations on oneself. In my own practice, I have worked with daily-use vessels, functional objects, and pure sculpture alike. Clay can become anything—the key is that your thinking and perception remain free.
The core question is not “what can clay do,” but “what do you want to express through clay?”
Q：As both an artist and an educator, how do you encourage students to step out of the studio and participate in international platforms such as the Jingdezhen Biennale?
A：I encourage students to present themselves in many different ways, rather than limiting themselves to a single path. Participating in international exhibitions and competitions is an opportunity, but setting up a stall at a craft market can be just as valuable.
Do not let a single style confine you, and do not define yourself too early. Do not assume you can only make sculpture or only functional ware. Let your work appear in different contexts and encounter different audiences; this will actually help you clarify your own direction. Art is not created behind closed doors—every exhibition and exchange is a second refinement of the work.
Q：The 2026 Jingdezhen Biennale places special emphasis on supporting young artists, such as removing age limits and establishing the “GuozhongEmerging Artist Prize.” From the perspective of ceramic education, what is the unique significance of this platform for young people?
A：One of the most distinctive features of the Jingdezhen Biennale is its highly detailed categorization—vessels, painting, installation, sculpture, and so on are clearly separated. This is rare in many large-scale exhibitions and helps participants more clearly position their own creative direction.
For young people, it is an important opportunity to be seen by the world, but its significance goes far beyond “becoming a star artist.” More importantly, it provides a “field”: you can see how works are installed and viewed, and hear real feedback from jurors and audiences of different cultural backgrounds. These are experiences you can never gain in the studio, and they are crucial for rapid growth.
The unique value of the Jingdezhen Biennale lies not only in fame, but in helping artists understand “what their work looks like in the eyes of others.”
Q：Do you have any particular expectations for the works in this edition of the Biennale?
A：I very much look forward to seeing works with truly new concepts emerge within these refined categories—especially those that lie between vessel and sculpture, emphasizing “interaction” rather than mere “use.” The exhibition encourages cross-disciplinary artists to participate precisely to realize this kind of multidimensional exploration.
Q：“Cross-disciplinary creation” is also a major highlight of this Biennale. The organizers encourage artists from non-ceramic fields to participate. What kind of “future” do you think this cross-disciplinarity will bring to ceramic art?
A：This is a visionary initiative that directly opens up imagination for the future of porcelain.
When painters, designers, architects, and practitioners from other fields engage with clay, the possibilities of the material are greatly expanded. It also creates long-term potential for the growth and richness of ceramic art. Allowing people from different disciplines to expand the boundaries of clay is like planting more diverse seeds for the future of ceramics.
Q：If you were to write a postcard titled “To the Future of Ceramics” in your role as a juror, to whom would you write, and what would you say?
A：To young artists:
Compared to the long history of clay’s companionship with humanity, our classifications and definitions are still narrow.
Please do not let existing frameworks bind your imagination. If you feel your imagination is insufficient, go to the wider world to find nourishment.
At its core, clay is “capable of anything.” It carries the past, but more importantly, it holds an entirely open future.
