PEOPLEText: Seiichi Endo, Mitsuka Kimura

Then, for “PULSE,” I wanted to be more aware of the inner detail of pieces, which have been developed through past works and to touch characteristics in the existence of each piece “like life”.

Recently, I lost a person close to me and that made me realize that my life is given, I live as I’m influenced by various events which happen around me, and much energy responses each other by that.。

There is the existence of life and the unconscious but strong will to live and what makes us recognize both of them is “PULSE.” I want to see a sense like that for “PULSE” as a beat, which is born in my body and started to beat when I just start to create artwork, and vibrates toward the outside of my body and resonates with something.

“PULSE”, Yuco Maruo, 2017, Stone Clay and Mixed Media

Why did you choose clay power to express the concept of “PULSE”? Also, tell me about how you choose colors for your pieces and the relation between colors and expression which are seen in your recent works.

I used to use oil-based clay for animation, tried ceramics in cooperation with a potter of Mashiko pottery, and created a large piece by various media such as FRP. I think each medium has its own originality, interest, and possibilities.

I like clay powder in recent years because I can complete a piece in my hands and directly feel unique senses at each moment. Also, the white fine texture and organic impression made by soft and smooth surface fits my idea that I want to express.


As a result, the “PULSE” series has more detail and delicacy. I think, that is because I had a will to express and pursue that “something like life” in each piece which is both fragile and strong, and they are complicatedly connected.

When I can see a form of pieces, I recognize a feeling of its detail by my hands and feel a unique “PULSE.” Clay powder helped me to unconsciously repeat that again and again.

After Gooskanpi “Goonie”, Yuco Maruo, 2013, Stone Clay

About colors, pieces with a concrete background story such as “Goonie” in 2012 and “Jamnical Parramo” around 2013 had a concrete image of color and I colored for sketch. But, when I turned them into three-dimensional forms, I felt that it’s better to leave them white as a blank story and the world existing in the depth of the image.

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