Tani Q approaches Shigaraki ware through an ongoing inquiry into the legacy of ancient Shigaraki (Ko-Shigaraki).
Surrounded from an early age by historical works, Tani does not treat Ko-Shigaraki as a style to imitate, but as material to be closely examined.
The question at the core of his practice—what truly distinguishes ancient Shigaraki from its modern form—is explored through making itself: selecting clay, building kilns, and repeated firings.
In his work, neither form nor surface is left to chance.
Distortion and texture emerge through accumulated research rather than accident, resulting in works with physical vitality that speak firmly in the present.
Within chanoyu, the role of his work has not yet become fixed.
Its openness allows meaning to emerge through use, combination, and time—before interpretation settles into convention.
