HUNDRED CERAMICS

Click the arrows to discover what to expect at our newly curated installation at Pacific Place

In a world increasingly driven by technology, this collection celebrates the artistry of craftsmanship through “A Curation of Ceramics by 50 Hands.” Each piece reflects the human touch, infusing everyday objects with warmth and character. This selection showcases the beauty of handmade craftsmanship, highlighting the unique imperfections and distinctive designs that only skilled artisans can create.

This season, we’re taking you on a journey to explore curated brands and collections that stand out for their unique aesthetics and innovation, all chosen to challenge the norms and inspire new perspectives.

ROBERT YELLIN

Ceramic expert Robert Yellin infuses decades of mastery into the world of Japanese ceramics, showcasing an unparalleled understanding of regional styles, historical significance, and contemporary innovations. Residing in Japan since 1984, he previously penned the “Ceramic Scene” column for The Japan Times for a decade and continues to share his passion through publications, television series, and guest lectures. His journeys through artists’ studios and museums across Japan enrich his curatorial perspective, ensuring an authentic representation of the country’s rich ceramic traditions while spotlighting emerging talents poised for global acclaim.

Which specific piece from the curated collection for Lane Crawford most effectively transforms traditional craft into something contemporary?

I would say the Shino shell forms by Goto Hideki. Shino style is an original Japanese glaze ware that originated in the 16th century during the Momyama period. Shino is mostly associated with tea wares, particularly chawan or tea bowls. Goto has taken the chawan form and sculpted his works much larger, inspired by shells.

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How do you envision these pieces integrating into someone’s daily life?

As Wallace Stevens wrote a poem once about placing a jar in the hills of Tennessee and all surrounding nature was changed. Hopefully the same works selected from the exhibition will help define the space they are placed, creating new moods, casting shadows and creating a dialogue with other artwork in the room. Also, works that are meant to be used, like a chawan, should not just be put on display yet also be held and used. The Japanese has a saying “Yo No Bi” or Beauty through using.

If you were to just pick a single piece for Chinese New Year, what is your best tip for home décor placement that will instantly shift the room’s energy?

One of the antique jars, such history and mystery within them. And better yet, not just placing it in a room but fill it with some flowers!

LEO WONG

Ceramic expert Leo Wong channels his extensive botanical knowledge and deep passion for ceramics into an exquisite collection of floral sculptures. Infused with an Eastern poetic sensibility, his works elegantly capture the diverse forms of nature, weaving together cultural heritage, literature, and botany into a rich tapestry of artistic expression.

When it comes to ceramics, what subtle details do you notice that most people might overlook?

When people talk about Japanese ceramics, they often say you can read the maker through the work – their eye, their hand, their sensibility all come through in the piece itself. Especially with artisanal pieces, there is so much quiet detail to notice. From the soft curve of a lip to the way a glaze pools and drifts, you can really feel the passion and imagination that craftspeople pour into each object. You don’t just see these nuances, you experience them in the hand – the balance of weight, the tactility of the clay or glaze, even the tiniest tool marks that hint at breath, decisions, and years, sometimes generations, of refined technique. Each piece is like a crystallisation of time and contemplation that gently asks us to slow down and look, and feel, a little more closely.

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If you were to take two pieces home, which would you choose, and how would you style them in your own space?

I would select Yoshita Minori’s gold-brocade floral vase with Jun Matsumura’s Divergence Collection teapot as a kind of dialogue between heritage and futurism. Yoshita, officially recognised as a Holder of Important Intangible Cultural Property – a Living National Treasure has perfected yūri-kinsai, burying gold beneath translucent glazes so the surface shimmers like brocade in motion. His floral vase reads as a celebration of spring, but also as a quiet statement piece that feels naturally at home in a modern reception room. On the other side of the table, Jun Matsumura’s Divergence teapot offers a striking counterpoint. His pieces are all sharp white porcelain and sculptural intent, defined by dynamic, almost architectural curves and volumes. Soaring geometric lines and subtle twists in the body give each teapot a sense of movement and tension, as if it’s mid-gesture rather than resting, which makes it an unforgettable choice for anyone who loves tea and wants a genuinely one-of-a-kind object in daily rotation.

For a first-time buyer, what is a simple way to evaluate craftsmanship – through touch, glaze, or subtle details – before making a purchase?

For me, craftsmanship means creating something slowly and deliberately, with the intention that it will truly live with someone over time. Beyond the obvious details—the trimmed foot, the grain of the clay, the way a glaze gathers on the rim or records the path of the flame—what matters most is the overall balance and the quiet presence of a piece. In Japan, many people instinctively judge a vessel by how it feels in the hand: whether the weight is poised, whether it settles naturally between the fingers, and whether it’s easy to drink from or hold, all of which are tied to proportion and the thickness of the clay body. Touch is just as important as sight; when you run your fingertips over the surface and sense that the smoothness, powdery matte, or gentle roughness is intentional, you start to feel a “designed touch” rather than looking for flaws, and you begin to read the maker’s decisions written into the form.

How do you envision these pieces integrating into someone’s daily life?

There’s a growing fascination with the Japanese idea of seikatsu kōgei (生活工芸) – craft designed to enrich everyday life, not just sit on a shelf to be admired from a distance. Over time, these objects quietly record how they’ve been lived with; fine scratches, a soft sheen, the slightest shifts in colour all become part of their beauty and you begin to feel inspired by the skill of human hands and the creativity behind them. In that spirit, a cup or plate is never just a tool. It can make a simple morning tea feel intentional, gently elevate an ordinary meal, and, through repeated use, become something that rests naturally in the hand and close to the heart, deepening respect for the maker’s touch. When these pieces stay with us for years, we slow down, care more for what we own, and let everyday objects – and the human ingenuity they embody help steady and soothe the mind.