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Press, Volume CIV, Issue 30688, 2 March 1965, Page 8

FOUR ministers of the Aden Government have resigned because of a clash of views over the forthcoming London constitutional conference.

meretricious tradionalism (59), through twentiethcentury baroque (15), to the ceramic equivalent of “new brutalism.” An important development seems to be the increasing use of a foamyfrothy broken edge of very plastic clay as a main decorative motif. Personally I find its most satisfying expression in the white flower vase by Yozo Shimizu (19), which is here reproduced. It seems to me that in this pot the use of this particular idiom has been considered from the very beginning and not introduced as a fashionable gimmick or after thought. A feeling for the plasticity of clay is exemplified in the jar entitled “Early Spring,” by Masaomi Nakamura, a pity the glaze and resulting colour are both quite unsympathetic to its form. Sometimes plasticity and broken-edge treatment have preoccupied the potter so much, he has lapsed into doubtful technique and questionable taste (33). The “baroque,” as seen in some pots, swathed in drapery-like folds and ridges, achieves varying degrees of success; all too often, though, poor colour contradicts form (9, 15, 53). Much of the lacquer, in spite of its meticulous craftsmanship, seems curiously “1920.” Loving care bestowed with infinite patience cannot make up for poor colour and very mannered design. There is little evidence of influence or change in this work and the basketry, perhaps to the disadvantage of the first and

the continued excellence of the second. The painted and embroidered screens are most interesting; one or two of our own artists have painted on unstretched fabrics, but not so far as I know with dyes. This might well be investigated since the surface product seems not unlike that sometimes attempted in p.v.c.-based colours. This exhibition, like others, has been possible because certain persons have generously given their skill, knowledge and hard work in the cause of art. It seems ungrateful then to criticise it; yet it would not do art any service to forget standards. From the point of flow, continuity and movement, the exhibition itself is well designed. The sinuous plan reminiscent of the bear pool at Whipsnade coaxes one along the right path very cleverly. But oh, the visual clutter created by all those concrete blocks with their cold antiseptic colour! In spite of their convenience and economy they do not serve exhibitions of ceramics well.

To sum up: a very interesting exhibition which reveals in exciting fashion what some Japanese artists are doing in the face of conflicting influences and traditions. The exhibition, open week days, 9.30 a.m.-5. p.m., will finally close at. 9 p.m. on March 5. u t c