HAPPY NEW YEAR

Happy New Year to everyone in every time zone and country. I hope the coming year is a joyous and prosperous year across the board and remember to make easy to fulfill New Year's resolutions and if you are going to drink, drink responsibly. Kampai, akemashite omedetou!

Illustrated is a very nice Iga tokkuri by Kojima Kenji accompanied by two seiji guinomi, the smaller guinomi by Wakao Kei (b.1967) and the larger is by Uraguchi Masayuki (b. 1964).

OGUCHI TSUBO

Illustrated is a phenomenal and classically inspired Tokoname tsubo by Takeuchi Kimiaki (1948-2011). The form and surface look as though it was made six centuries ago at the height of the Tokaname medieval tradition but is in fact a modern reworking of the ideal made by a modern potter. Takeuchi Kimiaki, studied with Ezaki Issei who was one of the essential component for the resurgence of  Tokoname pottery in modern Japan. Though Takeuchi is well known for his use of "splashed" ash on pots, especially platters, this pot has a natural surface, covered in running translucent green ash, the result of exceptional placement in his kiln and the intense atmosphere created by wood firing pots; the slightly deforming lip stands testament to the heat and ferocity within his kiln. This wonderful, timeless and classical tsubo also stands testament to the teaching of Ezaki and the dedication and skill of one of modern Tokoname's finest potters; Takeuchi Kimiaki.

MELTING SNOW

A friend of mine is a rather astute and veracious collector of fine Hagi chadogu and in particular the works of Miwa Kyuwa and Miwa Kyusetsu. His collection of Hagi ware, though not large is comprised of a number of Miwa chawan and mizusashi that run from exceptional to master works of the art. The pieces in his collection by Miwa Kyuwa are subtle, reserved and extraordinary examples of chadogu, while the pots by Kyusetsu (Jusetsu) are bold, powerful works of art that act as a counterpoint to his older brothers works. The works of the Miwa brothers covers the span of the 20th century from the traditional idiom of Hagi, the post-war developments to the advent of the Shira-Hagi and haikaburi techniques pioneered by the two Ningen Kokuho of Hagi.

Illustrated is a wonderful example of a large Hagi chawan made by Miwa Kyusetsu XI (now Jusetsu) in either 2000 or 2001. It is one of those quintessential chawan that only Kyusetsu is capable of producing with a vivid keshiki that evokes the atmosphere of melting snow in late winter. The vivid kairagi crawling is accented with black slip peering out from underneath the Shira-Hagi surface with a large area that has blushed pink along one side which spreads onto the obverse of the chawan. The surface compliments the strong classical form set atop a kodai only a master is capable of producing. Though often imitated, no one has come close to imitating the distinct qualities and characteristics of one of the finest Hagi potters in history, Miwa Kyusetsu XI.

SEASONS GREETINGS

I would like to take this opportunity to wish everyone the Happiest of Holidays and Season's Greeting around the world. With a little luck if we all wish for the same thing this holiday season, next year we can all experience a little more Peace on Earth by spreading good will to all, from locally to globally.

THERE AND BACK AGAIN, AGAIN

So, we spent Wednesday on the road making my way down to Wesleyan Potters in Middletown, CT to pick up a few pots which had been around a while. It happens, somehow, they had just not found a home. The trek however, was a case of multi-tasking as I was also to deliver a dinnerware commission along the way just in time for the holidays and saving me the effort of packing it all up and shipping it out by UPS. As usual, the trip took us close enough to Guilford that we had lunch at Nick's, yes cheeseburgers with well done onion rings and then a stop at a wine store we used to frequent and lastly a cannoli run. Our last stop in the area was to Meriano's Bake Shoppe ("leave the gun, take the cannoli") where we picked up a box of cannoli for the holidays. These cannoli remind me of the old style care and attention from a bakery like where I grew up, Danny's Bakery in Plattsburgh (NY), friends of the family. All in all, a nice trip on a sunny and sometimes partly cloudy day that serves to be the last of my pottery business prior to Christmas. It was a good way to spend a day.

SAKAKURA SHINBEI XV ON IPTV

Here is a short video of Hagi potter, Sakakura Shinbei XV that is part of a TV special on the potter from NHK Television. The Sakakura family has been making pottery for a long while and are a dynasty in Hagi, headed by the XV in recent times. His great-grandfather XII (1881-1960) is among my favorite Hagi potters and his work has that classic and timeless quality about it. Sakakura Shinbei XV is well known for his large handbuilt pieces as well as his tea oriented works, works that follow in the traditional footsteps of the previous generations of the Sakakura family.

A SAD DAY

Our thoughts and prayers goes out to all affected by this tragic and senseless shooting in Newtown, CT today.

HOW LITTLE WE KNOW

Having decorated a number of terra cotta pots, next came time to add the detail by means of sgraffito . This is a mostly an auto-pilot process and at times my mind contemplates matter large and small, well mostly small to be honest. Out of this came a segment from a favorite movie of mine, I am not sure why, it is just the odd way my brain works at assembling associations. The song is "How Little We Know" as sung by Lauren Bacall with  Hoagy Carmichael on piano. The video comes from the 1944 Bogart and Bacall classic; TO HAVE AND HAVE NOT. However I got there, it is just a perfect interlude for a busy Wednesday 12/12/12.

FLOURISH

Over the 20th century, there have been a number of ceramic artists who were so much more than that. Working across a variety of art and craft, people such as Takeuchi Seiho, Kitaoji Rosanjin, Kawakita Handeishi, Arakawa Toyozo and Tsukigata Nahiko  created works in ceramics, bronze, painting/calligraphy and lacquer. Today when I think of a multi-discipline potter, I think of Tsujimura Shiro (b.1947) with his wonderful pottery across a breathe of traditions and styles and his creative approach to calligraphy and painting. Many of Tsujimura's paintings have a rather evocative, contemplative atmosphere to them with traits reminiscent of the Momoyama era suiboku painters.  Like his pottery, the ink works of Tsujimura have a visceral impact and an introspective beauty to them.

Illustrated is a wonderful photo of the multi-talented artist/potter, Tsujimura Shiro "painting" large scale calligraphies at an exhibition at Yanagi Oriental Fine Arts in New York. The photo was taken by passionate collector and President of the Japanese Art Society Of America, Susan Peters. The exhibit showcased Tsujimura's pottery and was accompanied by his shoga (callagraphic art) and in the background of the photo you can see two large vases by Tsujimura. With a bold and instant flourish the calligraphy appears though it was roughly 65 years in the making.

NOT THIS ONE, THE OTHER ONE

When one thinks of Raku, one immediately thinks of the Raku family dynasty, founded by Chojiro along with Hon'ami Koetsu. In general however, after the time of Chojiro and Koetsu, it is mostly the mainline Raku family that comes to mind when thinking about Raku chadogu. The Hon'ami side of the creative process is usually overlooked and the family is thought of as sword experts/appraissers and sword polishers, however, over the centuries, the Hon'ami have continued to create pottery right through to the modern day. Illustrated is a Aka-Raku chawan of fine rounded form with exceptional areas of black carburization about the surface, interior and on the foot ring. This chawan was made by Hon'ami Sokyu, a direct descendant of Hon'ami Koetsu who is making tea ware in the traditional tebinari (hand molded) method as passed down from master to pupil over the centuries. In many respects it has more in common with the fuedal days of the Edo Period than it does with modern times, but after all, that what good Raku should strive for.

For more pictures of this chawan along with a recently added Shimaoka Tatsuzo plate, please go to my Trocadero website where I am also running a 25% off sale on pottery that I make;

http://www.trocadero.com/stores/albedo3studio/catalog/query.php?

OFF KILTER

I will spare all the recounting of a strange day, but it has been just one of those off kilter days. Issues with customs and the Post, glaze problems, clay problems (as in throwing), add in a day where the cat has decided to play Ninja warrior every time you go by and you might get a sense of my meaning. I am not saying it has been a bad day, just one of those days where everything feels as if it has shifted  five degrees off center. If I had been craving chocolate milk, I may have credited it to a temporal rift. Despite struggling with some very wet terra cotta, I threw what I had planned and was able to sand some greenware and slip it without any incident, so in reality I have little I should complain about.

Illustrated is a shikishi painted in a vivid tone of black by Oni-Shino pioneer, Tsukigata Nahiko. The four characters, kanji, are painted over a light gray wash most probably representing a bamboo stalk. It has little to do with my day or post, other than it has a nice centering effect.

"We should tackle reality in a slightly joking way, otherwise we miss its point."  Lawrence Durrell (1912-1990)

C'EST EN BLEU

Illustrated is a quartet of  Persian vases by Toruku-ao specialist, Kato Kenji that all say; "this is blue". I am rather fond of his work and his definition of  blue, so it was nice to be able to see and handle this group of pots, two glazed in his transparent Persian blue and the other two in his more opaque glaze that works well with bold, thick decoration. The tallest of the group is just about 12" and all four were thrown out a wonderful earthenware that fires up to a reddish buff color. I am continually fascinated by the lyrical brushwork that Kato Kenji used from wispy to bold all laid down quickly and with skill rehearsed from decorating thousands of pots over a lifetime exploring blue.

INEVITABLITY

"Just when I thought I was out................they pull me back in". After completing a large number of orders, commissions and pots for several holiday shows, I thought my terra cotta run was at an end, for now. However, it started off innocently enough with an email asking if I could make a covered serving bowl in my Falling Leaves pattern, then my wife says, well, as long as you need to fill the kiln, I could use 4 shallow bowls in the Tenot pattern (carved with white slip). Next thing you know, I am making a few of these, a few of those and I am in the midst of another terra cotta cycle. I am also going to make a few extra Falling Leaves and Tenot pattern pieces just to have some of the newer work around. It never hurts to have spare pots in the works, someone may even want them.

Illustrated in the foreground is a terra cotta hand-built vase with small lugs, it currently measures 14" tall by 12" long. I thought it would make a nice platform to decorate and it was a spur of the moment project though I will likely make another to fit up the back of the kiln. If you look in the background you can see the four bowls that Mindy requested for our cupboard along with the rest of one afternoon's throwing. Considering I have been throwing terra cotta, stoneware and porcelain for nearly two decades, it is rather inevitable that I will be throwing the red menace for some time to come.

ITS ALL IN THE WRIST

Illustrated is a fine shikishi by legendary potter; Kato Tokuro. This shikishi is painted in a rich, deep black with areas of "flying white" appearing like a noble pot, balanced in the center of the card with the depth of his spirit evident in the bokki of the image. It is quite possible it is all in the wrist, but far more likely it is the spirit of the potter that creates these dramatic calligraphies. Over the years I have seen quite a few shikishi and kakejiku by Kato Tokuro that depict the kanji for "tsubo" (pot) and each one is a bit different and unique, just like the pots of the master himself.

SHIZENYU

Illustrated is a Bizen chawan by Masamune Satoru who I have written about before in my blog. There is some connectivity that I feel with much of his pottery as I also do with another Bizen potter who left us much too early, Kaneshige Michiaki (1934-1995). I am not trying to insinuate that there work is similar, rather both potters pot and fire in a way that for some reason I naturally relate to; each has decidedly created a style that is identifiable and comforting. This chawan by Masamune is large and was well fired with a natural build up of ash with the interior covered as well and appearing wet. The form just asks to be grabbed up and handled and from foot to lip, this is the type of chawan that has a lot to offer and a great deal to say.

Teabowl²

I fired off the first group of squared teabowls in kaku-gata style with the cut square feet last weekend. They were glazed in a variety of glaze combinations ; tetsu-yu and temmoku, iron yellow and alkaline clear, haiyu and temmoku and medieval green and temmoku. Each presents a very different appearance, though the form s are all very close to about the same in shape and size with a little variances between them. I put two of the first bowls up on my Trocadero market place on Monday and they can be seen here;

http://www.trocadero.com/stores/albedo3studio/catalog/query.php

Illustrated is a stoneware teabowl, first thrown round and then paddled and the edges lightly rasped to define the form. First a white slip, then wax resist with black over and once bisque, glazed in my medieval green and temmoku. The use of the spirali e tagli design, compliments the individual panels that frame the form of the teabowl squared (teabowl²).

HAPPY THANKSGIVING

I would like to take this opportunity to wish everyone, everywhere a very Happy Thanksgiving. There are always a myriad of things to be thankful for and like most, Mindy and I have many reasons to be thankful; from a roof over our heads and food on our table (on hand made plates) to health and family.

The last time we were in Japan, it was over Thanksgiving and with the cool weather and exceptional fall vistas, the trip was one of our favorites. Illustrated is a rarely seen angle, looking up the massive support trusses of the Kiyomizu-dera through the dense red foliage of maple trees. From our perspective, this is the best time to visit Japan and we were richly rewarded with a panorama of Kyoto bathed in the colors of fall and even a few snowflakes!

(I AM) A LEAF ON THE WIND

There is something so evocative and elemental about a rich blue decoration against pure white porcelain which is both contemplative and intoxicating. Modern sometsuke pottery harkens back to an earlier time; to the dawn of the 20th century when studio potter like Seifu Yohei, Makuzu Kozan and Miura Chikusen perfected the art and much further back to the early days of the Edo Period (1600 to 1868). My first exposure to modern sometsuke wares was at the Ningen Kokuho and the Kikuchi exhibits seeing the wonderful blue and white porcelains of Kondo Yuzo and Kato Iwao. Kondo's works are well known in the West, while Kato Iwao is less so, though his sometsuke pots are both subtle and powerful statements in blue. Kato Iwao (b.1930) is a Kyoto potter,  who apprenticed with Kusube Yaichi and has dedicated his life to sometsuke porcelain of mostly exceptional floral design. Some of his pieces are accented with bold gold overglaze decoration adding to the exuberance and nobility of his work.

Illustrated is a hira-chawan by Kato Iwao. This chawan is rather broad at nearly 6.5" and has a subtle, drifting leaf incised and accented with shades of blue. The design is skillfully executed and is suspended in mid-air, as if a leaf on the wind.

ITS A WASH

Long before the stellar painted porcelains, potter Tomimoto Kenkichi (1886-1963) made his way through everything from Raku, slipware and decorated stonewares. His friendship with Bernard Leach and Yanagi Soetsu exposed him to a wide array of pottery and pottery techniques as well as painting and print making, all of which he was more than enthusiastic to try for himself and designs of this type are heavily influenced by mingei. The illustrated ink and watercolor shows his keen sense of form, perspective and decorative interests with washes of subtle color helping to define the design. Elements of this particular design can be seen on a number of Tomimoto's stoneware and porcelain pots made throughout his life while the sometsuke rendering of this style of decoration in varying shades and washes of cobalt on porcelain remain among my favorite. They are stark, simple and dramatically to the point.

"There is no eloquence without a man behind it."   Ralph Waldo Emerson (1803-1882)

SQUARE DEAL

Though I am in the final stages of finishing up my terra cotta run, I have been interjecting the occasional test piece here and there. A couple of weeks back, I decided to try taking some thrown cylinder teabowls and playing with the forms a bit to see what I could come up with. The first couple of bowls, were thrown and paddled triangular, which were okay, but not very satisfying or practical in terms of function. The latest group I decided to keep simple. The bowls were paddled square, rasped to define the edges and then came the tricky part, how to address the feet. I have made squared bowls and forms before and in the past, most had wheel tooled feet, though it works, I wanted something a bit more complimentary and to seem less like trying to fit a round peg in a square hole. This time around, I defined the actual foot and then proceeded to cut away the excess, leaving a square foot which better complements the form. The interior of the foot was cut out to tie in to the swirl in the interior of the bowl. I have plans for how to glaze these and if all goes well, I'll post up the finished results in a down the road.

"Nothing is a waste of time if you use the experience wisely."    Rodin (1840-1917)

DETAIL ORIENTED

Back, when I used to contemplate how many angels could dance on the head of a pin, I was reminded constantly through my parochial education and the use of a ruler; "the devil is in the details". When I look at a pot, I start by addressing the whole and then break it down into its components or pieces, studying the details. Do the details end up being more important than the whole or vice versa? These are obvious keys to judging the quality of a pot as well as identifying the potter. That being said, I thought it would be interesting to showcase close-ups or details of pots, that short of handling or seeing in person, are lost to most. From the obscure to the famous, the devil is invariably in the details.

Illustrated is a close-up of an abstract design from a mizusashi by Shinkai Kanzan (1912- 1996? ). Shinkai was a prominent Kyoto artist who was more interested in creating an array of forms complimented by a myriad of decorations, rather than solely creating works for the tea ceremony. Though he had a large set of technical and decorative skills, he was well known for and particularly adept at attaching stamped (decoration) porcelain onto a stoneware body to create vivid designs of fish, birds, abstract design and others ( see an earlier blog post for an illustration). This particular piece was thrown and then had paper resist placed on the surface and thick slip both brush and dabbled on to the pot, after which, the paper was removed. The pot was later glazed in a vivid sancai technique which further highlights the thick slip and recesses. A rather simple technique that has yielded a rich and extravagant atmosphere.

THE SIMPLE PLEASURES

We made a trek down to CT, dodging the after affects of Sandy and the recent Nor'easter, to deliver pots to Wesleyan Potters for their annual holiday sale. The trip and hand-off of pottery went smoothly and we took some time to go to a great bakery in Guilford for chocolate covered cannoli and to have lunch at one of our favorite dinners, NICK'S PLACE in Madison, CT. As predictable as I am, I indulged on my favorites, a char-broiled cheeseburger with all the traditional toppings and very well done onion rings, the simple pleasures. What could possibly beat a really good cheeseburger and  well done onion rings?

Somewhat related to the topic, for all you Parrotheads;

OUTSIDE THE LINES

I am not sure why, but I truly enjoy the eccentrics in Japanese art. The bravado and daring to follow an eccentric vision interests me and the idiosyncratic nature of the work is a lure, a beacon while standing outside the traditional convention of the field. The only drawback to the work of the eccentrics is that their appeal is mostly limited to those who also enjoy work outside of the norm and bucking convention. Over the years I have been drawn to the likes of painters Murase Taiitsu and modern painter Sato Katsuhiko, while the pottery of Isamu Noguchi, Tsukigata Nahiko and Kumano Kuroemon has managed to get my attention. It is the uniqueness and innovation of the eccentric artists that is captivating in technique and spirit. I say uniqueness, but in reality, most of the eccentrics use traditional idioms and through dedication to their vision bend them to their own by working outside the lines of convention, creating something entirely new, bold and pivotal to their art. In the end, I see the eccentrics as the pioneers who, like an engine, drive and help propel the possibilities of their various pursuits.

Illustrated is a guinomi by eccentric and dedicated potter, Kumano Kuroemon. The guinomi is simple in form with a surface that narrates the violence of the firing in which a thick coat of melted ash coats the Shino glaze creating a surface that looks like frozen ice complete with fissures and drizzling tamadare style ash moving down the piece.    A side affect is part of the real beauty of these eccentric works, the surface has a luminescent quality to it and depending on the light source, the viewer is seduced by its unique presence and power.              

BLUE MONDAY VIII

Back in the mid-80's, my wife and I became acquainted first hand with the works of both Morino Taimei and Miyashita Zenji (1939-2012) through Joan Mirviss in New York; since that time, the two have remained among our favorite non-traditional ceramic artists. Sadly, Miyashita Zenji passed away this year, his absence will certainly leave a void in the field of sculptural ceramics of which he was among the best. The works, based on what would appear to be a simple idea, was an achievement in technical skill as well as a mastery of form. His unique sensibility brought his ceramics into motion, animated with various hues and all of those crisp, torn edges, stacked one on top of another creating a narrative that brings the viewer, round and round the vessel.

Illustrated is a close-up of a vase form by Miyashita Zenji that is like looking into a distant landscape of row after row of mountains at dusk, the starlight barely illuminating the ranges in varying hues of blue. I am reminded of the landscape paintings of Fu Baoshi,  though there is so many things one can see in Miyashita's work, the possibilities are endless.

"After you cross the mountain, more mountains." An Indian Proverb

IN THE SPIRIT OF GOJO-ZAKA

Of all the students that Kawai Kanjiro taught, there is one standout who managed to infuse his master's syle with his own unique vision and that was Kawai Takeichi. Kawai Takeichi, also Bu'ichi, (1908-1989) was both nephew and student of Kawai Kanjiro spending a long while as student and assistant to the master. For a time, Takeichi also assisted in instructing the apprentices at the  studio and kiln at the studio/kiln in Gojo-zaka of Kawai Kanjiro.  Though his work has that distinct Kawai-mon (Kawai school) flavor and is at times mistaken for the work of his master, if you see enough and study the works of Takeichi, it is rather easy to see the differences between master and student. Takeichi had a son who has gone on to make pottery, KawaiToru (b.1941). Toru  studied first with his grandfather, briefly from 1964-1966 and then with his father. Toru's works differ quite a bit from his father and grandfather though it still bares that distinct Kawai school flavor. There is absolutely no gosu blue, like that of the Kawai school.

Illustrated is a wonderful, Chinese influenced mizusashi by Kawai Takeichi glazed in a soft and streaked Chun glaze with vivid accents of purple boiling up through the surface. The edges of the mizusashi have been effected to help create a frame that encapsulates the form and it is done to great effect. This mizusashi clearly illustrates the style of Takeichi ,created in a mold and is much more straight forward form than those used by Kawai Kanjiro. This is not to insinuate that Takeichi was less imaginative, but rather the path he decided to espouse was based on, but not copying that of his master.

THE DAY AFTER YESTERDAY

We woke early, though sleeping through the howling freight train gale of Sandy was tenuous at best. Our quest was to go out and find some ice as we had been without any electricity for nearly 12 hours and we had a freezer and frig full of perishables. Ice and coffee secured, the winds now diminished, continue to blow, spreading debris, leaves, branches, trees and misc. everywhere. As we arrive back home, the sun is trying its best to peak through the angry clouds with flocks of geese making their way southward as a solitary large badger skulks back toward the woods, his nocturnal foraging interrupted by the rudeness of Sandy.

We had taken the precaution of packing the freezer with jugs of water, now frozen and added bags of ice to the refrigerator, hoping that power will be restored soon. All in all, despite downed trees; home, studio and car rode out the storm and have fared well. The convoys of power grid bucket trucks and utility vans headed east, give some solace that the power outage is being addressed. I am rather tired of all the storms we have gone through in a number of locations and moves ago and I am seriously wondering if there are any abandoned nuclear missile silos within commute of my wife's work. After all, potters can work just about anywhere.

(This was written at 7am on the morning of 10/30/2012)

As a postscript, the power finally came on at about 1pm (10/30). I had decided to begin glazing on another kiln load of pots in the semi-darkness and the addition of lights was more than appreciated. Food stuffs in freezer and frig also fared well thanks to some careful planning. As one can imagine, life without electricity has its pitfalls, but I must admit, I certainly got more stuff done this morning than is normally possible with the distractions of computer, CD player, TV and hot water!

STORM WARNING

We are in the depths of Fall here in the Mohawk Valley, the trees that partially obscure our view of the river in the valley below are almost entirely bare, the color and leaves all but gone. For weeks now it is common to see huge flocks of geese making their way south, but that has changed in the past day or two. Now we see geese in pairs, small groups and flocks of hundreds making their way back north as the skies are filled with clouds and the wind is picking up, but by late afternoon, no more geese. There is a storm coming and though Sandy is not likely to be as bad in our area as along the coast, we are weary of the high winds, heavy rainfall, flash floods, snow and possible power outages. We have made every precaution possible, moving anything not nailed down into the garage to avoid flying debris of our own making.

As you watch the weather, the ominous storm reminds me of the view from space that was in the movie; THE DAY AFTER TOMORROW. It looks imposing and we are taking it seriously. We have stocked up on necessities and will ride out the storm and hope the shelter of the area lessens the impact. Though I am in the midst of glazing and firing, I am going to put off both for a few days and hope it doesn't put me too far off schedule. With the wild predications and forecast, better safe than sorry.

Here is a bit of levity and perspective given the impending doom that is forecast;

TANI-SAN II

Traveling through the ether of the internet, I stumbled on a rather nice vase and thought it worth sharing. This vase is the epitome of medieval styling and showcases the classical firing that is Ko-Shigaraki . Obviously patterned after a historical archetype this hanaire by Tani Seiuemon is picture perfect with a wonderful green glass ash flow cascading down the face of the pot acting as a permanent reminder of the flame and the potter. This is a much better representation of the work of Tani Seiuemon than are the three kogo I posted recently!

FORM

It is not necessarily an easy thing to admit, to come face to face with, but I have an addiction. I am a form addict, a form junkie if you will. It is forms that first capture my attention, not material, not surface, it is the form that first communicates with me on an intellectual and very visceral level. The stronger and more honest a form, the greater is the attraction. Over the years, I have come to understand how it is that I can love a wonderful seiji vase and an Iga mizusashi with equal enthusiasm, the common denominator is the form and how it commands space and the volume it struggles to contain. The form is also the seeming contradiction between the exterior, which is laid bare and the mystery of the interior. Add to this that each form can act as a metaphor for whatever the mind conjures; so what could really be more important than the form of a good pot?

Illustrated is a paddled vase that speaks about form accompanied by decoration and happenstance. This Mashiko vase was made by Shimaoka Tatsuzo (1919-2007) and the strong and purposeful form was decorated with his impressed rope decoration and then the pot was placed in a salt fired wood kiln with each facet of the pot complimenting the other. Without the great form, the surface and firing would have been for naught, but in this instance, all coalesce to create an exemplary pot.

MORE COPPER BLUE

A few years back, I decided to try to develop a clear glaze that would fire to cone 02 or there about with the sole purpose of using it as a base for colored glazes. I would add red iron oxide, cobalt, copper and manganese carbonate & cobalt to try to produce an amber, blue, green and purple translucent or transparent glaze. The other criterion was to use frit 3124 instead of 3110 as I have inherited quite a bit of the 3124 and using the 3110 on a regular basis was getting a bit costly. The base glaze is composed of 3124, flint and ball clay with the additions of the various colorants to produce a good transparent, rich surface. The plus side to developing these glazes was; it is easy to fit small colored glaze pieces into the kiln when I am firing terra cotta and the pots look quite a bit different than the Abstrakt Resist, carved Tebori and black and white slip works.

Illustrated is a terra cotta teabowl that was first decorated in black and white slip and then glazed over in a copper blue glaze and fired to cone 02. The verses pattern under this glaze gives it an entirely different look and feel then when done in my Abstrakt Resist.

PRESENTO

Over the number of trips we have taken to Japan, one of our go-to places was always Shigaraki. We were fortunate to meet with a number of the Shigaraki and local potters over the years and in doing so, we always made a point of visiting with Tani Seiuemon (b.1913-d.?). His studio was not far at all from the train station and he had a wide array of Ko-Shigaraki style pottery which he was dedicated to producing. His pots were warm, genuine and inviting. Having built an anagama in the early 1970's, his work maintained a consistent medieval quality to it and from my perspective, his work is easy to recognize. Together with his son, the current Seiuemon, the studio produced everything from utilitarian pots to those for tea ceremony. Illustrated are three Ko-Shigaraki style kogo made by Tani-san and given to my wife and I over three trips to his studio, each with their own box and wrapped to survive their trip back to the US. We could not have asked or dreamt of a finer presento from our visits to Shigaraki and the home and studio of Tani-san.

LAST BUT NOT LEAST

I think that I can finally say, I made my last piece of terra cotta for the time being to satisfy some upcoming shows and for gallery restocks. It seems like I have been locked in a mock battle with the red menace for a long while and I can't say, I am sorry to be done with the making end. I still need to get pots dry, decorated, bisque, glazed and fired and barring any unforeseen hiccups, fait accompli. I know it sounds like everything I say about terra cotta is disparaging and negative, the truth is, as a clay and the various techniques I use with it, when it is well behaved, I enjoy its properties and the degree of control necessary to keep it from gaining the upper hand. The other day, after throwing a group of pots, I was rather sad to stop as the throwing had gone so well and it is easy to get lost in the moment when throwing. It was enjoyable, but now with a studio filled to the brim with pots in varying stages, the last, but not least of the pots has been completed.

Illustrated is a long, 20", terra cotta tray, black slipped with a carved pattern overall and accents, maybe punctuations of white slip. Once bisque, the tray will be glazed in a clear, from my table to yours.

"Like the bee, we should make our industry our amusement."   Oliver Goldsmith (1730-1774)

SIMPLE SHINO

Strictly speaking, Shino is a rather simple glaze. Composed of mostly feldspar and ash in Japan and of nepheline syenite and spodumene in the West; the bulk of the formulas are just a small handful of materials. It would seem that the proportions of the materials and those "secret ingredients" makes all the difference from glaze to glaze and potter to potter. Secret ingredients aside, there are other such variables like type of clay body, quality of slip or washes and of course how the pots are fired, wood fired being among the finest, that can really make a Shino glaze stand out. I guess in the end, there is no such thing as simple Shino.

Simple glaze plus simple chawan equals, masterpiece. Illustrated is a wonderful Aka-Shino chawan by the father of modern Shino, Arakawa Toyozo. Using a fine traditional mogusa clay, this chawan was wood fired to produce a bowl reminiscent of some of those Momoyama masterpieces.

ITS MY WORLD AND WELCOME TO IT

As I child, I was amused, fascinated and somewhat enthralled with the wit, wisdom and humor of James Thurber. I read what I could lay my hands on by him and searched out every cartoon available (remember, this predates the immediacy of the internet by a few decades!) and watched every episode of ITS  MY WORLD AND WELCOME TO IT (1969-1970) . One of my favorite stories and also movies based on Thurber's stories, was THE SECRET LIFE OF WALTER MITTY,  the perfect foil for Danny Kaye, possibly only surpassed by, THE COURT JESTER. I realize you may be wondering what any of this has to do with pottery and I could say nothing or everything, but truthfully, one of Thurber's quotes reminds me of a photo I took some while back.

Last year I had a very fine Kumano Kuroemon Shino chawan come through my hands. Beyond the obvious sheer scale of the pot, the surface exterior and interior was covered in a luscious coat of natural green ash from his intense wood firing. I examined the piece thoroughly and documented it in a myriad of photos, but none seemed to capture the real beauty of the bowl. By happenstance, in one of my favorite places to display pots, the sunlight came through as an illuminating sliver and finally showed the real presence and essence of this particular chawan. All I had to do was point and shoot and keep the pot in focus. I have said enough, I'll let the photo continue the narrative.

"There are two kinds of light - the glow that illuminates and the glare that obscures." James Thurber (1894-1961)

 

TEMPUS FUGIT DUOS

Today was another one of those rather busy days with a variety of tasks to accomplish; from unloading a glaze kiln and loading another, carving several plates, tooling several wall bowls and covered serving bowls to throwing some larger pasta bowls. Add into the mix a visit from our roofer regarding an ongoing issue and the time really does just evaporate. Little by little I am making inroads into getting done what needs to be finished with a deadline for an inventory of work to be delivered by Friday (well, most likely Sunday!).

Illustrated is a plate and a covered serving bowl in my "Falling Leaves" design. The idea for these pots come from early Korin/Kenzan Rimpa pottery as well as those of the 20th century master, Kitaoji Rosanjin. Given the way the leaves and seasons are changing, it came out of the kiln at about the right time.

"Occupation is the scythe of time."  Napoleon Bonaparte (1769-1821)