SŌK ERICA SUZUKI　
鈴木絵里加

A vintage apartment in Tokyo. The interior, with its exposed concrete walls, is decorated with ceramic masks and tile art, and countless houseplants placed along a window facing the courtyard appear to comfortably bathe in the light of sun. Objects, art pieces, and furniture of various origins, from her own works to those she has acquired, are in perfect harmony within this single space. This is the studio and home of ceramic artist Erika Suzuki. Having originally studied architecture, Suzuki devised plans for the renovation together with her husband who also has an architectural background, and created this space while making changes and modifications themselves as well. Suzuki, who majored in architecture at university, became an assistant at architectural design office after graduating. Although maintaining an interest in the architectural profession as she experienced various tasks, at the same time, she felt a strong desire to “create things more directly through her very own hands.” One day, as she was walking by the station, she came across a poster for an exhibition of works by ceramic artist Hans Coper. Finding herself drawn to visit the exhibition, it was there that she encountered works that completely subverted her impression of ceramics―works with an aura like she had never seen before. Suzuki, who had never touched a potter's wheel before then, had decided without hesitation to engage in ceramics, leading to her enrollment in a ceramics school in Tajimi.

After studying ceramics in Tajimi, Suzuki returned to Tokyo and started working as an artist. Under the name SŌK, she creates a diverse and eclectic range of items with different uses and for different customer bases, including vessels, accessories, and art pieces. The vessels meet their completion once food is served upon them, while the accessories are complete once adorned by the wearer. She mentions that in this respect it is all quite natural for her, as she more or less maintains the same stance for everything that she produces. In terms of vessels, she channels her awareness towards the fact that she is producing backdrops for food, and thus explores the kind of backdrops that could be created through the colors, textures, and unevenness of the glaze. Suzuki mentions that she is more interested in making the “face” rather than the shape of the vessel. Come to think of it, she rarely makes cups or other vessels that could be used to hold drinks, and instead devotes herself to making dishes and bowls that are used for serving food. Before pursuing a career in ceramics, there was a time when Suzuki had contemplated becoming a maker of traditional Japanese washi paper. She states that she had always been interested in creating materials. Even now, while producing ceramics, she is perhaps engaged in an exploration of the material itself.
It has been ten years since Suzuki began working in ceramics, and although she has now become a highly sought after artist, she mentions that she still finds ceramics to be challenging. She laughs as she shares how she is still trying to get to grips with the potter’s wheel, and that mixing the glaze is a process of repeated trial and error. One also feels that she has managed to continue working with ceramics because it is something that cannot be entirely controlled and doesn’t always turn out as anticipated. Simple shapes and delicately subdued glazes that accentuate and draw out the appeal of the food that is served upon them. Suzuki’s ceramics by no means make a strong statement, yet the nuances of the indescribable colors, as well as the exquisite texture that lies within the realm between glossy and matte, are what indeed define her work. When looking at her work, one realizes that artistry is not just about bringing individuality to the forefront, but also about expressing that individuality while controlling it. While perhaps not evident from the dignified and tranquil impression of her works, a conversation with the artist had enabled one to capture a glimpse of her conflictions and insatiable curiosity for making things.

Suzuki, who gave birth to her first child in 2021, is also in the very midst of motherhood. She mentions that after having a child, she began to feel that she needed to approach her practice more earnestly. Since both of her parents worked, as a child Suzuki would go home to her grandparents every day after school and play by making various things herself. Suzuki’s grandmother was someone who made everything by hand, from meals to sweets, and seeing her grandmother had instilled her with the joy of making things. Now that she is a mother herself, she wishes to communicate the joy of making things to her son by showing her attitude of how she too creates things from scratch. In this day and age, it is possible to easily buy anything one wants, but Suzuki hopes to encourage him to devise and make things himself and come to develop a true sense of what one likes and dislikes. Mixing the glaze from scratch, kneading the clay, and creating the shape. Dry, fire, glaze and fire again. To eat with vessels that have been made with time and effort in this way. One does not doubt that the beyond the mere joy of making things, the fact that such is indeed originally a means of life, is something that would subconsciously be cultivated in the child through their mother.