MAKERS | ASIA & PACIFIC | JAPAN | CERAMICS

Hitomi Hosono | Ceramic Artist

Hitomi Hosono © Photography by Lisa Linder, courtesy of Adrian Sassoon

Growing up in Japan's Gifu Prefecture, surrounded by rice fields and her grandfather's elaborate tilework, Hitomi Hosono developed an early appreciation for the natural world and the beauty of handmade objects. Now based in London, the ceramic artist draws inspiration from the leaves and flowers she encounters on walks, translating their intricate forms into elaborate porcelain creations. Through hundreds of individually moulded and carved botanical sprigs, she builds vessels that appear to grow organically. Her latest works feature in 'Beauty in Repetition', a group exhibition with Kate Malone and Junko Mori at Adrian Sassoon, London, from 19 November to 18 December 2026.

How did you begin?

I grew up in Gifu Prefecture, Japan, surrounded by rice fields. My family was connected to both nature and ceramics. My grandfather was a tiler, and he also decorated our house with tiles everywhere. I remember the feeling that we were living in his creations, his own work of art.

When I was a child, I was always surrounded by the natural world, from the changing colours of the rice fields to the flowers and plants around me. At the time, I didn't realise how strongly these experiences would influence my work later on. Even now, when I am working quietly with porcelain in my studio, memories of Japan often come back through my hands.

How did you learn?

I studied throwing on the potter's wheel at Tajimi Technical High School, followed by ceramics at Kanazawa College of Art and Utatsuyama Craft Workshop in Japan, where I learned about Kutani pottery. Later, I studied ceramic design in Copenhagen before moving to London to study for my master's degree in Ceramics and Glass at the Royal College of Art.

Each place gave me a different perspective on making. My education in Japan gave me a strong foundation in ceramic materials and traditional techniques. Studying in Denmark encouraged me to think about design in new ways, and London introduced me to another important part of my practice.

While studying at the Royal College of Art, I became fascinated by the traditional technique of sprigging, in which small ceramic reliefs are applied to a surface – a technique for which Wedgwood is famous. I began to think about the possibilities of this technique and how I could develop it into something more sculptural and personal.

Hitomi Hosono © Photography by Lisa Linder, courtesy of Adrian Sassoon

Who or what most influences your work?

Nature is probably the most important influence in my life and work. I am especially drawn to leaves and flowers, not only because of their beauty, but because of the extraordinary complexity within them. When we look closely at a leaf, we begin to notice the branching veins, the delicate edges and the way the whole structure grows.

My memories of Japan are also very important to me. I remember the sounds of frogs in the rice fields on summer nights, the wind moving through the rice plants and the flowers growing around my childhood home. These memories remain with me, even though I now live in London.

I am also influenced by the plants I discover here in England. Sometimes I go for a walk and find a leaf that captures my attention. I might touch it, study its structure and remember its details. I don't necessarily photograph it or try to copy it exactly. Instead, I allow the experience to stay in my mind, and it often returns when I begin to work with clay.

I think my work is a meeting point of these memories of nature, my Japanese background and the ceramic traditions I have encountered in Europe.

Hitomi Hosono © Photography by Lisa Linder, courtesy of Adrian Sassoon

How do you plan, prepare, and create your works?

My process usually begins with observing a plant. I look closely at its shape, the way its veins branch and the details of its edges. I may draw it and examine it by touch. The more time I spend looking, the more I discover. I then develop a model of the leaf or flower and make a plaster mould from it. Using this mould, I create many individual porcelain sprigs, carefully carving each one to bring out its finer details.

I usually throw the vessel itself on a potter's wheel. I then begin applying the porcelain leaves and flowers, layering them one by one. Sometimes I cover the entire surface until the original form is almost hidden, much as leaves can completely obscure the branches of a tree.

Porcelain is a wonderful material. As I work with it, new ideas often emerge that I could not have imagined at the beginning. I try to remain open to these discoveries rather than control every detail from the start. The process requires a great deal of patience. A large piece can take around a year to complete, including the lengthy drying period. I have to allow the porcelain to dry at its own pace.

What does a typical day look like?

My studio surroundings are important to me because I need to be close to nature, even when I am working indoors. My studio is in a garden, with beautiful forests nearby. A working day can involve many different activities. Sometimes I am throwing a vessel on the wheel, which requires concentration and a certain physical energy. At other times, I may spend hours carving individual leaves or flowers. This is repetitive, but I find that repetition can become meditative. It allows me to concentrate deeply on the material.

Some stages demand speed and decisiveness, while others require me to slow down and be patient. Drying pieces, in particular, cannot be rushed. I also try to spend time outside, walking and looking at plants. These moments of observation are not separate from my work; they are an essential part of it. Often, something I notice on an ordinary walk will find its way into a porcelain piece much later.

Hitomi Hosono © Photography by Lisa Linder, courtesy of Adrian Sassoon

An object you'll never part with? 

I would choose something connected to my memories of Japan, particularly an object that reminds me of my family and the natural world I grew up with. My grandfather's work has had a profound influence on me, and the memory of living surrounded by his creations remains very precious.

A place or space that most inspires you?

I am inspired by gardens and green spaces, both in Japan and in England. In England, I often discover interesting plants while walking. I enjoy looking closely at them and noticing their different textures and structures. But the landscape of my childhood is always with me, too. The rice fields in Gifu, the movement of the wind and the sounds of nature on summer evenings are still vivid in my memory. Even when I am far away, these places return to me through the process of making.

The music you listen to while you work?

I sometimes listen to piano music, but I also enjoy working in silence, or occasionally listening to the sounds of nature, such as birds singing in the garden or the wind. Concentration is an important part of my practice. The sounds and rhythms of the natural world, including memories of the rice fields in Japan, have a special place in my imagination.

 Hitomi Hosono, 
A Moringa and Leaves Bowl, 2026
, Moulded, carved and hand-built porcelain with an interior of gold leaf. For 'Beauty in Repetition' at Adrian Sassoon, London, through December 18, 2026. 

Interview by Lucrezia Lucas

Images from Sylvain Deleu and Lisa Linder, courtesy Adrian Sassoon