アート作品なのか？ 実用品か？ 手の跡が残る一点ものだけどマルチプル。ずらりと並べばまるで大量生産品のパロディにも見えてくる。なんとも愛でたい脱力と謎の存在感。私たちHappeningsがハンドメイド・セラミックレーベルSHOKKIに共感するのはこんなユーモアとアマチュアリズムを讃えるような匿名性に他なりません。これらのプロダクトはどんなアイデアから生まれているのでしょう？ そういえば先日、岡山から大阪にお引越しコンセプトショップをスタート、と新展開も気になるところです。

Is it a work of art? A practical product? It is one-of-a-kind, but multiple, with traces of the hand. If they are lined up in a row, they look like a parody of mass-produced products. It has a mysterious presence and a sense of powerlessness that we want to love. It is this kind of humor and anonymity that we at H share with the handmade ceramic label SHOKKI, which celebrates amateurism. What kind of ideas go into the making of these products? Speaking of which, we are also interested in the new development of SHOKKI, which recently moved from Okayama to Osaka and started a concept store.

ーー大阪・枚方公園駅にお引越されたのはいつでしたっけ？

契約は（2021年の）４月からですが、予算が無かったこともあり改装に時間がかかって。オープンは12月からですね。

ーーこれまでは岡山市内に工房があったんですよね。

スタジオは赤磐市ですね。実家が岡山市で。赤磐市ってあんまり知られてないと思うんですけど、桃農家さんが多いような町ですね。

ーーSHOKKIをスタートさせたのは2013年からですね。

当初は趣味でやっていたので、こんなことになるとはまったく考えてなくて。最初はお小遣い稼ぎ的にやってたんですけどね。友達にあげてもいいくらいの感じで。

ーーそもそも陶芸を始めたきっかけは？

大学生の頃に好きだった女の子が陶芸をやっていて、彼女に近付くために（笑）

ーー彼女から陶芸を教えてもらって？

いや、僕がロンドンに交換留学に行ってたんですけど、大学に戻ってきたら、彼女は卒業して信楽の「滋賀県立陶芸の森美術館」のレジデンスに行ってたんです。彼女と連絡を取っているうちに陶芸って面白そうだなって。で、僕もレジデンスの申請をしたら通って、１ヶ月だけ行けることになりました。でも行ったはいいけど、なにを作ればいいのか？ まったく分からなくて。

ーー彼女が目当てですもんね。最初はなにを？

とりあえずコップを作ってみようと。

ーー軽い気持ちで。

そうですね。でもコップって毎日使ってるけど、どう作っているのか？なんて考えたことなかったし、この土を焼けばツルテカになるんだ、とか素朴な驚きもたくさんあって。それから毎日コップを作ってました。楽しくなってきて。

ーー彼女も近くにいますしね。

ある時、谷本（真里）さんっていうアーティストの友人が信楽に遊びに来たんです。谷本さんが僕の作ったコップを見て、“これから京都で「みず色クラブ」っていう店を始めるから（商品として）扱いたい”と言ってくれて。

ーー「みず色クラブ」に置かれたことがSHOKKIの始まりだったり？

そうですね。感謝です。それから作る数が増えていったんですね。（南魚沼市にあったギャラリー／ショップ）「poncotan」にも置いてもらったり。

ーーSHOKKIという名前はその頃に付けました？

そうです。僕は本名で別に作家活動をしているんですけど、それと差別化したくて。

ーーなぜSHOKKI（食器）なんです？

当時の彼女に提案したらいいんじゃない？”って言われて。僕もそれでいいかなって。あんまりなんにも考えず（笑）。ちょっとコップとか作れたら楽しいなって思ってたくらいの頃なんで。


ーーSHOKKIが広がってきたことで陶芸に目覚めました？

いや、いわゆる陶芸って堅い世界だなって今も思うんですけど、その世界にはほとんど興味が無くて。抹茶碗になるとすごい高いとか、価値観が難しくて、簡単に手を出せないというか。その業界でしか成り立たないルールが多いこともあって。

ーーなるほど。信楽で滞在制作をした後は実家のある岡山県に戻られるんですよね？

例の彼女と別れてしまって…。つまり陶芸をやる当初の純粋な目的はすぐになくなってしまったんですが...。ちょうど大学を卒業するタイミングでもあったので、それで岡山の実家に帰りました。

ーー陶芸を続けてみよう、と。

陶芸はとりあえず納品依頼があったので、それをこなすために陶芸教室を探して見つけました。そこはユルくて良かったですね。平日の昼間からおじいちゃん、おばあちゃんたちと一緒に作ってました。

ーーSHOKKIのプロダクトはその陶芸教室の窯で焼いてたんですか？

陶芸教室と...あと、大きめの公民館って陶芸窯があったりするんですよね。そこでは「わくわく陶芸クラブ」などという団体名で、おじいちゃんたちがグループで陶芸を楽しんでいました。僕はクラブには入らずに、そこでひとりで焼いてました。でも平日の昼間に若者がひとりで大量に焼いてると目立つし、かなり怪しまれるんですよね。今だから話せるんですけど、ほんとは営利目的で使うのはダメなんですね。

ーー公民館ですしね。

ある時、受付のおばちゃんに“あなた、ビジネスやってるでしょ？”って見抜かれて。でも“やってないですよ！”って。その場は乗り切ったんですけど。公民館で焼くのはもう難しそうだし、自分で窯を買うしかないと思って。

ーー急遽、窯を買うことに？

展示会があったり、注文もどんどん入ってきてて。でも窯を買ったとしても実家のマンションには置けないし、どうしようかな？と。で、賃貸で窯のおける物件を探したんですが、うまく見つけられず。

ーーそこで赤磐市の古民家をスタジオとして購入した、と。

農家の広い家が安く売られているのを母親が見つけたんですね。岡山に「住まいる岡山」っていうサイトがあるんですけど。

ーー不動産物件を紹介する？

そうです。僕と母親がそれに一時期夢中になって。“母さん、あの物件見た？”とか言って（笑）。ある時、母親が“ここ、いいんじゃない？”って。農家さんの古民家で、いろいろ含めて380万円くらいの物件ですね。ぜんぜんお金が無かったので借金して買いました。

ーー決心しましたね。

決心した、というより仕方がなく、っていう気持ちですね。とにかく一刻も早く窯を買って置けるところを探さないと、っていう気持ちで。


ーー物件を購入されてからはSHOKKIのモチベーションは変わりました？

粘土を捏ねて楽しいなっていうピュアな気持ちは最初の２年くらいで終わりました。最初から予想はしていたんですが、モチベーションを保つのがこれから大変になるな、と思ってた頃ですね。

ーーそこでなにか新しいアイデアを生み出した？

つくるものだけでなく、その見せ方とかブランドとしてのSHOKKIをどう運営、展開していくのか？を考えたら飽きないんじゃないかと。

ーー自身でSHOKKIの楽しみ方に変化を付けていく、と。

最初は作ることを純粋に楽しんでいて、その次はブランドとしてどう見せていくか？ 運営していくか？を楽しんで。そうやって自分の興味の対象をシフトさせていくことで今も作り続けていますね。運営を考えるのも粘土を捏ねるのも、自分はSHOKKIというブランドの社員なんだ、と捉えつつ。

ーー粘土を捏ねることからブランドの見せ方など、運営も客観的にひとりで考えてみる？

自分自身もSHOKKIに対しての見方をちょっとずつ変え続けている感じですね。お客さんの感想やお店からオーダーをもらったときに、こんな風に見てくれているんだっていうのが面白いこともあって。


ーーSHOKKIのコンセプトは“ま、いっか。くらいの気楽さと自由さ”。そのココロは？

陶芸って窯で焼くことで完成するので、それは焼き上がりを受け入れざるを得ないわけですね。一番最後は触れられないと言いますか。それがいいなと考えていて。諦めが付くというか、最後まで自分の意図を入れられないというか。

ーー最後は窯に任せる、という実験？

手を動かす前にイメージしたものを作るだけだと、自分の場合は新しいものが生まれづらいな、とも考えていて。だから諦めて結果を受け入れることで想像もできない新しさを獲得できるかも、と期待もしていますね。最初の頃は粘土の量がよく分からなかったので、マグカップを作るつもりが（サイズ的に）花瓶になった（笑）。ほんとは今もそんな作り方をしたいんですけどね。

ーー委ねることで予期せぬ新しさが生まれるかもしれない、と。

もちろん焼き上がってきたものに対して、作り手としては、これいいなとか、これいまいちだなとかは感じるんです。でもどんな結果もすべて受け入れることにしているんですね。

ーー不揃いのデコボコを受け入れる、と。

そういえば、岡山で通ってた陶芸教室で「うぶごえ展」っていう、そこに通うアマチュアの人たちの展示があるんですね。作品にはタイトルとキャプションが付いているんですけど、そこに「ZAKKI」というタイトルの手捻りの作品があったんですよ。

ーーSHOKKIの真似？

そうだと思います（笑）。僕が陶芸教室で大量に焼いていた頃、作品の裏に「SHOKKI」ってサインを入れていたので、おじいちゃんなんですけど、多分それを見て「ZAKKI」（雑器）ってタイトルを思い付いたんだと思うんですね。そういう風に広がっていくんだっていうのが面白かったし、これでいいんだとも思えた。

ーーそう思えた理由はどのようなものでしょう？

純粋さを忘れたくないというか。誰でも作れるってことが良いんだって感じたことがあって。だからSHOKKIの活動を通して、みんながアマチュアが作ったものの面白さをたくさん発見できるようになったらいいな、と。そんな気持ちもありますね。


ーーあらためてSHOKKIは作品なのか？ 実用品なのか？ 手捻りの一点ものだけどマルチプルで、ずらっと並ぶと大量生産品のパロディのようでもあるような。目指すところは？

あんまり自分でSHOKKIについて言わないようにしてるんですけど、僕の好きな傾向を考えると、手作り雑貨とか可愛いものにはあまり興味がなくて。それに手で作っていること、その跡が残っている造形にも僕自身は無頓着だと思います。一方で「手捻り陶芸」って括って良いのか分からないけど、その原型のようなものを目指しているところはありますね。作家の個性が無いものを参考にしたり。2018年あたりは無印良品やユニクロのやり方をよく見ていました。

ーーデコボコだけど匿名的で。それが作家性といえるかもしれません。

デコボコしているけど、作り手としてはアノニマスななにかを目指しているのかもしれない。ちなみに自分が日常で使いたいと思うものはアノニマスなものの方が好きなんです。

ーーこれまで多くのアーティストとコラボレーションをされていますね。それはなぜでしょう？

SHOKKIを始めた頃、まずはSHOKKIのような専門的な知識や技法のない陶芸が受け入れられる土壌を耕さないといけない、と考えてました。海外だとそういうのがあったんですけど、国内では当時あまり見当たらなくて。だから最初コラボレーションする意味のひとつは、いろんな人と一緒にやることによって、こういう陶芸のスタイルやSHOKKIを知ってもらう、という目的がひとつあったんです。それと当時SHOKKIが一人の作家名として扱われることに違和感があって。SHOKKIという作家の名前を消して、「レーベル」として存在させていくためにいろんな人とコラボレーションさせてもらった感じですね。

ーー作家性を薄めていきたい？

そうだったんですけど、実際は強まってしまったんですね。いろんな人とコラボレーションすることで、自分も知らなかった僕自身の個性が見えてきちゃったんです。自分の個性を意識するようになったというか。

ーーそれまで無意識だったこだわりが見えてきた、ということですね。

SHOKKIには自分の個性は無い方がいいなって最初は思ってたんですけど、最近は素直に個性を反映させてもいいのかなって考えていますね。自分の個性をあんまり信用していないところもあるけど。SHOKKIとして発表する回数が増えて、作り手としての意識が強くなってるし最初の気持ちと変わってるところもあります。

ーー発表を重ねることで考えが変化してきたところも？

制作に関してだと、完成の予測が付くようになってきて。予想ができてしまう、という面白く無さもあって。だから今は予測が不可能なことを意図的に取り入れたりしています。例えば、釉薬を何回か重ね掛けしてみたり。年４回発表する、その時々のコレクションで実験している感じですね。

ーーコレクションでは毎回どのくらい制作されるんですか？

ほとんど一点ものの手捻りで、マグカップ、タンブラー、平皿、ボウル、花瓶、バスケット、オブジェなど10種類ほどですね。その時のコレクションの技法によっても種類や数は変わるんですけど、全部で150点とか。（アート作品のように）オブジェをひとつだけ作る、というのはあまりないですね。



ーー大阪・枚方公園駅に引越された理由は？

引越はコロナ前からパートナーと考えていて。彼女が京都で仕事をすることが多いこともあって。それで京都で探してたんですけど、陶芸のスタジオとパートナーのシルクスクリーンの工房を作らないといけなくて、予算的にちょうど良い物件が見当たらなくて。京都を中心に半径を拡げて探したら、枚方公園駅に面白い物件があるなぁ、と。

ーーこの枚方公園駅の建物は元々クリーニング屋さんだそうですが、ギャラリー／ショップに改装されて、名前を「MALL」と付けられていますね。

「MALL」はこの建物全体のことを指していて。スタジオもショップもテナントのように入っている、というコンセプトで。ショップにはパートナーが担当するジンのコーナーもあるし、シルクで刷った服もあります。小さい規模だけど、ショッピングモールみたいになったら面白いねって。

ーーSHOKKIに関してはどんなプロダクトを「MALL」で展開される予定ですか？

過去にコラボレーションしたものなど、なかなかお披露目の機会がないけど、SHOKKIのコンセプトをより反映しているプロダクトを扱おうと考えています。一点もののマグカップとかはすぐに売れるんですけど、他にもっと面白いものも作ってるんだけどな～という気持ちもあって。

ーー順調です？

人がぜんぜん来なくてヒマですね。このままだと早々に閉店しちゃうので、みなさんぜひ気軽に来て欲しいです（笑）

ーWhen did you move to Hirakata Koen Station, Osaka?

The contract started in April (of 2021), but it took a long time to renovate due to lack of budget. We started opening in December.

ーUp until now, you had a studio in Okayama City, right?

The studio is in Akaiwa City. My parents live in Okayama City. I don't think people know much about Akaban City, but it is a town with many peach farmers.

ーYou started SHOKKI in 2013, didn't you?

At first, I was doing it as a hobby, so I had no idea it would turn into something like this. At first, I was just doing it as a way to make some extra money. It was enough to give away to my friends.

ーHow did you get started with ceramics?

A girl I liked when I was in college was doing ceramics, and I wanted to get closer to her (laughs).

ーDid she teach you how to make ceramics?

No, I was on an exchange program in London, and when I came back to the university, she had graduated and was doing a residency at the "Shiga Prefectural Museum of Ceramic Art" in Shigaraki. While I was keeping in touch with her, I thought that ceramics sounded interesting. I applied for the residency and was accepted, so I was able to go there for one month. I went, but I had no idea what to make. I had no idea.

ーYou are looking for a girlfriend, aren't you? What did you make at first?

I decided to make cups for the time being.

ーWith a light heart.

That's right. But we use cups every day, and I had never thought about how they are made. I had never really thought about how they were made, and there were many simple surprises, like how this clay could become shiny if it was baked. Then I started making cups every day. It became fun.

ーAnd you have a girlfriend nearby.

One day, a friend of mine, an artist named Mari Tanimoto, came to visit me in Shigaraki. She saw the cups I made and said, "I'm going to start a store in Kyoto called "Mizuiro Club" and I want to sell them (as products).

ーWas the placement of your work at "Mizuiro Club" the beginning of SHOKKI?

Yes, it was. I am very grateful. And from then on, the number of products you made increased. （We also had our products placed at "poncotan" (a gallery/shop in Minamiuonuma City).

ーDid you come up with the name "SHOKKI" around that time?

Yes, I did. I am an artist under my real name, but I wanted to differentiate myself from that.

ーWhy did you choose the name "Shokki" (tableware)?

I suggested it to my girlfriend at the time and she said, "Why not?" She said, "Why don't you propose it? I thought it was a good idea. I didn't think too much about it (laughs). (laughs) I was just thinking it would be fun to make cups or something.

ーDid the expansion of SHOKKI awaken your interest in ceramics?

No. I still think that so-called ceramics is a rigid world, but I had little interest in that world. I was not interested in the world of ceramics. I was not interested in the world of matcha bowls, which are very expensive, and the values are difficult to understand, so I could not easily get involved. There are many rules that only exist in that industry.

ーI see. After your residency in Shigaraki, you will return to your hometown in Okayama Prefecture, right?

I broke up with my girlfriend. In other words, my original pure purpose of doing pottery immediately disappeared.... I was just about to graduate from university, so I went back to my parents' house in Okayama.

ーYou decided to continue with ceramics.

I had a request to deliver ceramics, so I looked for a pottery class to fulfill it and found one. It was a nice, relaxed place. I made pottery with my grandparents during the daytime on weekdays.

ーDid you fire SHOKKI's products in the pottery class's kiln?

The pottery class and... Also, some larger community centers have pottery kilns, don't they? There, under the name of "Wakuwaku Pottery Club" or something like that, old men enjoyed pottery making in groups. I didn't join the club, and I was making potteries there by myself. But it was conspicuous and looked suspicious when a young man was making a lot of potteries by himself during the daytime on weekdays. I can talk about it now, but I know you are not allowed to use it for commercial purposes.

ーIt is a community center, isn't it?

One day, the lady at the reception desk said to me, "You're doing business, aren't you? But I said, "No, I'm not! But I said, "No, I'm not! I said, "No, I'm not! I got over it. I thought it would be too difficult to bake at the community center, so I decided I would have to buy my own kiln.

ーYou decided to buy a kiln in a hurry?

There were exhibitions and orders were pouring in. But even if I bought a kiln, I couldn't put it in my parents' apartment. So I thought, "What should I do? So I looked for a place to rent where I could put the kiln, but I couldn't find anything.

ーSo you bought an old house in Akaiwa City to use as a studio.

Your mother found a large farmhouse for sale at a reasonable price. There is a website called "Sumire Okayama" in Okayama.

ーYou introduce real estate properties?

Yes, I do. My mother and I were obsessed with it for a while. We would say, "Mom, have you seen that property?" (laughs). One day, my mother said, "I think this place is nice. (laughs). It was an old farmhouse, about 3.8 million yen including everything. We had no money at all, so we borrowed money to buy it.

ーYou made up your mind, didn't you?

It was more like I had no choice. I just felt that I had to buy a kiln and find a place to put it as soon as possible.

ーDid SHOKKI's motivation change after you purchased the property?

The pure feeling of having fun kneading clay ended after the first two years. I had expected this from the beginning, but it was about the time when I thought it would become difficult to keep motivated.

ーDid you come up with any new ideas?

I thought, "How can we manage and develop SHOKKI as a brand, not only in terms of what we make but also in terms of how we present it? I thought I would never get tired of it.

ーSo you are adding your own ideas to the way people enjoy SHOKKI.

At first, I genuinely enjoy creating, but then I think about how to present it as a brand, how to manage it, and how to develop it. How do you want to present it as a brand? Then, how should we present it as a brand? By shifting the object of my interest in this way, I am continuing to create. I think of myself as an employee of the SHOKKI brand, whether I am thinking about management or kneading clay.

ーFrom kneading clay to brand presentation, do you think about the management of the brand objectively on your own?

I feel like I am constantly changing my view of SHOKKI little by little. When I receive feedback from customers or orders from stores, it is sometimes interesting to see how they look at my work.

ーThe concept of SHOKKI is "Well, whatever. The concept of SHOKKI is "to be as carefree and free as possible. What is the reason for this?

Ceramic art is completed when it is fired in a kiln, so we have no choice but to accept the finished product. The last part of the work is untouchable. I think that is a good thing. It's like giving up, or not being able to put my own intention into the work until the very end.

ーIs this an experiment in which you leave the final touches to the kiln?

I think it is difficult to create something new if I just make what I imagined before working with my hands. So I'm hoping that by giving up and accepting the result, I might be able to acquire something new that I can't even imagine. In the beginning, I didn't know how much clay to use, so I intended to make a mug, but it turned out to be a vase (in terms of size) (laughs). I really want to make something like that now.

ーBy leaving things to others, unexpected new things may be born.

Of course, as a creator, I can feel that something is good or not so good when it comes out of the oven. But I try to accept all the results.

ーYou accept the unevenness and bumpiness.

I remember, at a pottery class I attended in Okayama, there was an exhibition called "Ubue Exhibition," in which the amateurs who attended the class exhibited their works. Each piece had a title and caption, and there was a hand-twisted piece titled "ZAKKI.

ーAre you copying SHOKKI?

I think so (laughs). When I was making a lot of pottery in my pottery class, I used to put my signature "SHOKKI" on the back of my works, so I think my grandfather, who was an old man, probably saw that and came up with the title "ZAKKI" (zakki). It was interesting to see it spread like that, and it also made me feel that this was okay.

ーWhat made you think so?

I did not want to forget the purity of the work. I felt that it is good that anyone can create. So, through SHOKKI's activities, I hope that everyone will discover the fun of amateur creations. That's how I feel.

ーSHOKKI is a work of art? Is it a practical product? It is a one-of-a-kind, hand-twisted product, but it is multiple, and when lined up in a row, it seems to be a parody of mass-produced products. What is your goal?

I try not to say too much about SHOKKI myself, but given my predilection, I'm not really interested in handmade goods or cute things. I am also indifferent to the fact that the work is made by hand, and that there are traces of the handmade work in the form. On the other hand, I don't know if "hand-twisting ceramics" is the right term to use, but I am trying to create something like a prototype of that. I refer to things that don't have the individuality of the artist. around 2018, I often looked at the way MUJI and UNIQLO do things.

ーIt's bumpy, but it's anonymous. You could say that is writerly.

It may be bumpy, but as a creator, you may be aiming for something anonymous. By the way, I prefer anonymous things to things that I want to use in my daily life.

ーYou have collaborated with many artists. Why is that?

When I started SHOKKI, I thought that first of all, I had to cultivate a soil where ceramic art without specialized knowledge and techniques like SHOKKI would be accepted. There were such things overseas, but there were not many of them in Japan at the time. So one of the reasons for the initial collaboration was to work with various people to make them aware of this style of ceramic art and SHOKKI. Also, I felt uncomfortable about SHOKKI being treated as a single artist's name at the time, so I collaborated with various people in order to remove the name "SHOKKI" and have it exist as a "label.

ーDo you want to make it less artist-oriented?

That was my intention, but in fact it has become stronger. By collaborating with various people, my own individuality, which I didn't even know I had, became apparent. I became aware of my own individuality.

ーSo you are saying that you became aware of your own particularities, which you had been unconscious of before.

At first I thought it would be better if SHOKKI did not have my own individuality, but recently I have been thinking that it would be okay to reflect my individuality in a straightforward manner. I don't trust my own individuality very much, but as the number of times I have presented my works as SHOKKI has increased, I have become more conscious of myself as a creator, and some of my feelings have changed from the first time I presented them.

ーHave your thoughts changed as you have presented more and more?

Regarding production, I have come to be able to predict the completion of a project. There is a certain uninterestingness in being able to predict the outcome. So now I intentionally incorporate things that are impossible to predict. For example, I try to apply several layers of glaze. I feel like I am experimenting with each collection, which is presented four times a year.

ーHow much work do you do for each collection?

I make mostly one-of-a-kind, hand-twisted pieces, such as mugs, tumblers, flatware, bowls, vases, baskets, objets d'art, and about 10 other types. The type and number of pieces varies depending on the technique of the collection at the time, but in all, I make about 150 pieces. （I don't often make just one object (like an art piece).

ーWhy did you move to Hirakata Koen Station, Osaka?

I had been thinking about moving with my partner since before Covid-21. She often works in Kyoto. So we were looking for a place in Kyoto, but we had to build a studio for ceramics and a silk-screening studio for my partner, and we couldn't find a place that was just right for our budget. I looked in a wider radius around Kyoto and found an interesting place at Hirakata Koen station.

ーThe building at Hirakata Koen Station was originally a dry cleaner's shop, but it was converted into a gallery/shop and named "MALL".

MALL" refers to the entire building. The concept is that the studio and store are like tenants. In the store, there is a zine section that my partner is in charge of, as well as silk printed clothes. It's a small scale, but we thought it would be fun to make it look like a shopping mall.

ーWhat kind of SHOKKI products do you plan to offer at "MALL"?

We are planning to carry products that reflect the SHOKKI concept more, such as products from past collaborations, which we don't get a chance to showcase very often. One-of-a-kind mugs and such sell quickly, but I also feel that we are making other more interesting products.

ーHow are things going?

It's been slow because people haven't come to the shop at all. If things continue as they are, we will close soon, so I would like everyone to feel free to come by (laughs).

SHOKKI
2013年にスタートしたハンドメイドのセラミックレーベル。「ま、いっか。」くらいの気楽さと自由さで、食器や鉢、オブジェなど一点もののプロダクトの企画と制作を行う。2021年より大阪・枚方公園駅近くにショップ、ギャラリー、スタジオなどが集合するコンセプトスペース「MALL」を構える。
https://shokki.org
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SHOKKI
A handmade ceramic label started in 2013. With a carefree and free spirit of "Well, whatever..." In 2021, they will open a concept space "MALL" near Hirakata Koen Station in Osaka, which will include a store, gallery, and studio.

MALL
大阪府枚方市三矢町7-11
土日祝日のみ営業　第2日曜休
12:00PM～6:00PM
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2022年5月末まで「SHOKKI SHOP」、出版レーベル「pharmacy」によるジン等を扱う「薬局」がオープン。音楽家nensowによる、枚方などでのフィールドレコーディングを元にしたインスタレーション作品の展示も。

https://nakamurahiroshi.net