The Beauty in Teppei Ono’s Cathartic Clay
An interview with the renowned Japanese ceramist at his debut Hong Kong exhibition at BELOWGROUND.
Teppei Ono is a celebrated Japanese contemporary ceramic artist whose practice is a powerful dialogue between raw, untamed energy and the quiet resilience of everyday life. Born in 1958, his path began with a deep rebellion against the constraints of modern society, driving him to seek freedom through the elemental medium of clay.
After apprenticing in the historic pottery center of Tokoname under the legendary Ryoji Koie, Ono moved to the serene mountains of Kochi Prefecture in 1998. Living a disciplined, rhythmic life surrounded by nature, he kneads local Kochi clay by hand and fires it in wood-burning kilns he built himself. This intimate process is often physical and even “violent”; he has described his early work as an outlet for sharp, aggressive impulses. However, at the age of 40, his philosophy shifted toward creating “living pottery” that seeks to “envelop” and comfort the user.
“Maybe getting into pottery is fate… [as a youngster] I felt really controlled by adults. I really wanted to be free and I saw art as a path to pursue freedom.”
His debut Hong Kong exhibition at BELOWGROUND showcases over 120 wood-fired vessels. These unadorned bowls, plates, and jars bear the marks of an unpredictable “dance of flames,” resulting in rustic surfaces defined by fire marks and natural wood ash. Beyond their simple forms, Ono’s works aspire to bridge cultural and generational divides, offering a tangible “vitality” and quiet strength in a chaotic world. Approaching a career of half a century, his legacy remains defined by a warm, generous humanity that guides users toward a more mindful and grounded daily existence.
Hypebeast sat down with Teppei Ono for a quick chat.
How did you get into ceramics?
Teppei Ono: I knew I wanted to go to an art university after graduating from high school. However, I spent three times trying to get into the university, but failed three times. In the end, I chose to become an apprentice for a ceramic master, and that’s how it started.
Do you think that’s fate?
Maybe getting into pottery is fate, but what really made me want to pursue art was when I was studying in middle and high school — I felt really controlled by adults. I really wanted to be free and I saw art as a path to pursue freedom.
Heison Ho/Hypebeast
Heison Ho/Hypebeast
Heison Ho/Hypebeast
Heison Ho/Hypebeast
Heison Ho/Hypebeast
How do you know when an artwork is finished?
Even before I pull out the product from the kiln, I’d already know how I want the object to become. From the biggest vase to the smallest cup, I have an image of how I want it to be finished.
What’s a typical day like for you?
I live a very regular, systematic life when I am in Kochi, where my home and workshop are next to each other. I would start my mornings at 9 a.m., throwing clay at the wheel. Then at 12 p.m. sharp, I will have my lunch. Later in the afternoon, I’ll be at the kiln firing clay. And finally, at 5 p.m. on the dot, I’ll be done for the day, walking my dog and winding down.
Do you travel a lot these days?
Yes, I’m always traveling. Just last month, I visited China, Laos, Thailand and India. I get inspired by different cultures, especially from India — it enriches me as a person and as a result, my ceramics.
“I live a very simple life back home and I’m content with that. I receive a lot of joy from interacting with people, from my neighbors to everyone I meet wherever I go.”
Your signature lines in your work, do they represent anything?
The process of creating the lines is by using a metal brush on the clay when it’s still wet. To me, that combing is a very violent process because it’s breaking or disfiguring the clay. However, at the same time, it’s very cathartic for me and allows me to release the violence inside me. Through all this, I create something that is not violent at all, something gentle and elegant — I think that is the beauty of my work.
How much do you create?
This year, for context, more than others, I have ten exhibitions. Six of them are overseas and each could involve anywhere from 20 to 200 pieces of work — I don’t like measuring it by numbers, but this gives you a rough idea.
In your free time, do you have any hobbies?
The word “hobby” is very weird to me because I’m very blessed to be doing what I love every day. I suppose travelling is something I do a lot too, but I don’t really consider that a hobby. To be honest, I live a very simple life back home and I’m content with that. I receive a lot of joy from interacting with people, from my neighbors to everyone I meet wherever I go.
Teppei Ono’s first exhibition in Hong Kong will be on view at BELOWGROUND until March 8, 2026.
BELOWGROUND
Basement, Landmark Atrium
15 Queen’s Road Central,
Central, Hong Kong
