The London-based artist, master potter, and author Edmund de Waal has an astoundingly astute sense for the inner lives of objects. Each of his works, whether in clay or stone, is imbued with a certain alchemy, embodying traces of far-away or long-ago ancestors, ideas, and histories. This fall, two exhibitions featuring his artworks are on view at Gagosian in New York (through October 28): “to light, and then return,” which pairs his pieces with tintypes and platinum prints by Sally Mann, and “this must be the place,” a solo presentation displaying his porcelain vessels poetically arranged in vitrines, as well as stone benches carved from marble. As respected for his writing as he is for his pots, de Waal is the author of 20th Century Ceramics (2003), The Pot Book (2011), The White Road (2015), Letters to Camondo (2021), and, perhaps most notably, the New York Times bestseller The Hare with Amber Eyes (2010). All that de Waal does is part of one long continuum: He views his pots and texts as a single, rigorously sculpted body of work and ongoing conversation across time.

On this episode, de Waal talks about his infatuation with Japan, his affinity for the life and work of the Japanese-American artist Isamu Noguchi (1904-1988), and the roles of rhythm and breath in his work.

Special thanks to our Season 8 sponsor, Van Cleef & Arpels.

Show notes:

[00:28] Edmund de Waal

[03:43] Paul Celan

[08:12] 2023 Isamu Noguchi Award

[08:17] Gagosian

[08:20] “this must be the place”

[08:22] “to light, and then return”

[09:09] Twentieth-Century Ceramics

[09:20] The Pot Book

[18:23] “Letters to Camondo” Exhibition

[20:32] Sally Mann