BY ANY OTHER NAME

I have never been one to make chaire necessarily, but was asked to recently by a customer. Instead, I decided to make a small covered spice jar, because after all, "he who controls the spice, controls the universe". My basic hesitancy to make chaire stems from an inability to acquire bone, horn, wood or ivory lids for the pot and as such I prefer to just make a very small covered jar and let people use them for whatever they will. The illustrated piece, with and without the lid, is under 3.5" tall and is glazed overall in a temmoku and then dipped in the iron red, tetsu-yu glaze. The chaire is glazed overall, including the rim and the lid was fired separately. Aside from the glaze, the only decoration to the pot is the incised line around the shoulder and the one pronounced drip on the front of the pot. I made a group of these small jars in the last firing as they fit easily around other pieces. As energy costs continue to go up, I am looking for filler to take up every nook and cranny of the kiln and these small jars along with other small pieces help fill up space that previously may have been empty.

It would seem, every new pot presents some type of hurdle in the throwing, tooling or glazing, why should these be any different. Throwing the lid is a chore as I am 6'2" with large hands and making the tiny lids proved to be less than fun and I had to "reconstruct" a pair of old glaze tongs to hold and dip the little jars in the glaze. With no area on the foot or base to hold on to, tongs seemed the natural solution for dipping the pieces. The scale of the pot may have posed a few new challenges but one thing is for sure, it is easy to pack, uses very little bubble-wrap and fits in the free USPS Priority box!

IGA TEBACHI

The is just something magical about  wood-fired pots and this Iga-yaki tebachi, handled bowl, is certainly not exception. You have to admire the way the slight upgrade in the lip which borders the bowl, acted as a barrier, collecting the ash as it was forced past the pot in the velocity of the fire, pooling to frame the pot in a rich green bidoro. Though the lip acted as a dam, the build up  pushed the ash, cascading into the form creating  streams which pooled in the center and created this glassy surface. Once again the simplicity of the tebachi, belie the experience and engineering that went into the pot, knowing just where to create certain lines and where to put the pot in the kiln. In this case, the experience and know how is from master Iga potter, Kojima Kenji and the simple pot is the culmination of trial and error and a great many years of making pots, studying Ko-Iga and wrestling a degree of control out of the flame which help define these pots as modern day Iga-yaki. Looking at this piece, it is easy to see the poetic nature of the fire, written static on the  pot's surface in dazzling green bidoro.

A TOKONAME SURFACE

Illustrated is another pot by Tokoname legend, Osako Mikio. This evocative hanaire first had a glaze applied and then was fired in the fire-mouth of his wood kiln. The sometimes subtle, ash coated pot has given way to a molten yet luminescent surface of varying hues reminiscent of some long buried Roman glass. The complex nature of the surface is tempered by the simplicity of form, another trademark of the potter. Though I have not seen this pot in person, I handled a chawan a long while back with a nearly identical surface and I can say, it makes for a wonderfully rich Tokoname surface that has a great deal to say both visually and to the sense of touch.

THE LAST FIRING

I was asked for a few pictures from my last firing and thought I might just as well put them up on my blog. The first picture is of a group of saffron and tetsu-yu glazed double gourd vases, the tallest about 12 inches or so. The second illustration is of a pair of wasp-waisted covered jars, one in saffron and the other in tetsu-yu glazes, both about 12 inches as well.

YET ANOTHER BLUE MONDAY

The weather forecast  for the area called for the possibility of a major Nor'easter, though it looks like we may have dodged that storm, thanks to the shelter of the valley and surrounding terrain. It is however, a rather cold, bleak, rainy day and getting things done has been a bit of a chore. After last week's firing, I needed to get several orders packed up and out the door and want to concentrate on working out a few test ideas that I have been thinking about. It should make for a casual break between "production" cycles. As the work day started, I threw the obligatory group of  test yunomi/cups first, then hit the packing duties which I am especially fond of.

Illustrated is a simple Persian blue  glazed bowl that came out of the test kiln the other day. It has a black underglaze design over porcelain and was fired to just under 2200 degrees. It is intended as an EDB (every day bowl) and I will use it for a while to see how it stands up to actual use.

WHAT"S LUCK GOT TO DO WITH IT

A very perceptive collector friend of mine was lucky enough to happen on to this phenomenal Tsukigata Nahiko Oni-Shino hanaire a while back. I say lucky, but luck had nothing to do with it really. He saw and exceptional piece and committed to acquiring it, despite the financial strain. This Tsukigata pot is one of those classic front & back pots with the face as you see it and the rear having a molten, iron rich flow of glaze and ash cascading down the rear. The face has these unctuous rolls of thick Shino frozen for all time framed by iron and ash from its battle within the fiery kiln controlled in part by a master potter. The form of this vase, is one of a group that Tsukigata used throughout his career and strikes a monumental, nearly totemic stance with the surface accentuating and painting the lines of the pot.

As if the very nature and quality of this textbook surface was not enough, this pot appeared in the book highlighting Tsukigata's pioneering achievements in the book; ONI-SHINO (1974).  As a friend once reminded me, the only thing better than having a truly great pot, is to have the pot illustrated in a book, it is hard to discredit at that point. This timeless pot shows a glimpse into the creative maelstrom that defines Oni-Shino and stands as testament to one of the great innovators of Shino of the 20th century.

"Chance favors the prepared mind." Louis Pasteur (1822-1895)

A SECOND VIEW

I ended up getting ahead of myself a bit and started glazing on Sunday, so I loaded Monday afternoon and  fired on Tuesday. Schedules are flexible and when my wife goes in to work on Sunday, I slipped off to the studio to get things started. I unloaded the glaze this afternoon and was pleasantly surprised not a single piece had glaze running off the pot, no stuck feet, no stuck lids, in many ways an ideal firing. The only drawback to a firing that is predominantly one glaze combo is the sameness. Once I started moving pots away from each other and looking at them out in the sunlight, the character of each pot was far more apparent than on two tables filled with saffron and iron red surfaces.

The overglazes, the saffron yellow iron and the iron red are both made from the same base glaze, the only difference is the use of yellow iron oxide in the one and Spanish red iron oxide in the other. However once placed on the alkaline clear and my temmoku, it is obvious how much different they are from each other. Out of the firing, the double gourd vases came out rather well and considering I haven't thrown this form since my arrival in the Mohawk Valley, I think they came out strong with a nice curved rise from the foot. All in all, not a bad firing, lost one test cup and one teabowl out of the entire firing, in baseball this would be batting .990!

Illustrated is the same group, now fired that I used last Friday while they were all still bisque. There is too much light streaming into the studio windows, making for a terrible photo, but I think you get the idea.

"What we anticipate seldom occurs, what we least expected generally happens."

                                                                             Benjamin Disraeli (1804-1881)

PAPER, PLASTIC OR JUTE

This past weekend, I was set a task to find something which has been packed away since a good number of moves ago. We have moved a number of times since 1998, principally for my wife's job, after all, what potter would move over and over again by choice. In the search, an item at the top of one of the totes, brought me back, quite a few years. Folded, neatly on the top was a jute, environmentally friendly,  shopping bag I had designed back in 2001/2002. I was approached by the Show Of Hands shops of the ODC (Ohio Designer Craftsman) to design a bag using one of my It's Still Life designs for the assignment.

At this point, I had been represented by the ODC/SOH stores in North Olmstead, Columbus and Cincinnati for nearly a decade and my It's Still Life and the Black & White slip trailed work were my best selling pottery at the time. The restrictions were simple, a basically square design and the limited to the use of six colors. Illustrated is the bag that they produced from my original design, It's Still Life, the actual design is call; " I Am Still Waiting". It was a good deal of fun to see the project from sketch to product and I must admit, even more satisfying was seeing people carrying the bag at the mall and at the craft shows that the ODC sponsored around Ohio.

THE PLANNED CHAOS

I unloaded a bisque this morning, filled with some serving pieces as orders, covered jars, gourd vases, spice jars (chaire?) and the ubiquitous teabowls. I spent time cleaning the bisque and then glazed and waxed the feet and lips/lids readying the pots for glazing. This group will revolve around the saffron yellow iron glaze, temmoku and red iron and a few odds and ends including the "Jun" glaze I am still working on. Part of the fun that goes along with a glaze firing is the necessity to make up glazes as well. This time around I needed to make up 1000gramms of the Jun and 5000 gramms of the temmoku and alkaline clear glazes. Just part of getting everything ready to go.

My intentions are to start glazing on Monday and finish up with secondary glaze coats, cleaning and kiln loading on Tuesday and firing the glaze kiln on Weds. This will be the first time I have fired any pots with the saffron glaze that were of any size and I am hoping the glaze doesn't just run entirely off the pots. Each of the covered jars and gourd vases will be fired on pieces of old shelf to minimize the catastrophe that is ever present with untried glaze combinations. Illustrated is a group of the bisque ready to be waxed/glazed, the tallest jar in the back is just under 15" tall. The bisque nearly covers two 8' tables, I have a fair amount of work ahead of me.

FINISHING TOUCH

“Delicious food requires plates of a comparable level of beauty; without them it is incomplete. And so I came naturally to a critical interest in chinaware and lacquerware for table use.”

This comment by Kitaoji Rosanjin (1883-1959) is in my mind what best highlights his talents.  In a conversation I had with a major curator of a major museum, he admitted that he was just unclear as to why Rosanjin was considered so highly and his pots were fetching such high prices, this was in the early 1990s. If you think about it, deciding his actual place in art history can be debated. Was Rosanjin a great designer, potter, chef, calligrapher/painter, literati philosopher or arbiter of taste or truly, all of these? The answer to this question is above my paygrade, but I can say that by looking at Rosanjin’s works, it is certain he understood and appreciated what had come before as his work taps into that sense of timelessness. It is neither old nor new.

Having seen quite a few Rosanjin pots over the years in private and public collections, as well in numerous catalogues and books, the real brilliance of his work is his ability to conceive of the pieces in situ, in use for food, varying ritual punctuations, tea ceremony, flower arrangement, etc. as the finishing touch to his works. Rosanjin had the nearly unique ability to envision his creations as they would be used, in places where they would fulfill specific functions as most pots are meant to do. If you think of a Rosanjin Bizen mallet vase, though timeless and subtle in its beauty, if you add a floral arrangement to the piece, acting almost as a visual prop, it is transfixed into a myriad of altered aesthetics depending on season, arrangement and arranger, but at its core, it seems complete. Though many critics consider his versatility and originality his real gifts, from my perspective it is the fact that few, if any other potter can live up to Rosanjin’s unique ability to create a pot that is finalized by the addition of what is “missing” and that is how he conceived the piece. In an odd way, it is like the negative space that highlights many great painting masterpieces of the Muromachi and Momoyama periods.  It would seem that Rosanjin was seeing the big picture long before that was an essential part of our modern lives.

“There is nothing so delicious as freshness.”   Kitaoji Rosanjin

A NEW SPARK

A while back, I posted a stellar  tsubo by Tokoname legend, Osaka Mikio and then a bit later amother post of the same pot, with a photo from a book showcasing the potter. Now comes another pot, made at the very same time as the tsubo, 1982, though made in an entirely different method. Illustrated is a large Tokoname platter by Osako that has an evocative ash glaze poured onto the surface which is further enhanced by the wood firing process. The surface palette runs from a milky emerald color to a rich bidoro style deep green around crevices helping frame the plate in glassy accents. What is so unusual about this piece is that the potter, first threw a thick disk of clay, let it firm up a bit and then literally "carved" the plate out of the disk, certainly a new spark for a long standing tradition. The marks left by cutting away the rough clay, narrates the adventure of the pot and makes for wonderful variations in the surfaces where glaze and ash were allowed to build up. This plate shows why Osako Mikio was so highly regarded for adding something new to Tokoname ware that dates back many centuries.

(Used with the permission of a private collector)

CASUAL EXPRESSION

"My work began in England, learned much in Okinawa and matured in Mashiko......"            Hamada Shoji

Illustrated is a mizusashi by Mashiko legend, Hamada Shoji. The full form has a perpetually wet appearance and the striking underglaze sugar cane motif appears to have only just to have brushed onto the pot in the blink of an eye. The ash based clear glaze has created Hagi like areas of blushed spotting running from beige to pink most noticeable around the underglaze decoration. There is a palpable tension in the form and profile of the pot that almost appears to be contained by the fluid and casual expression of the  brushwork of the potter, who had painted the same design, many thousands of times before. I don't doubt there are better pots by Hamada, but few have the unrestrained sense of fullness and animation that this water pot contains.

OUT OF MY GOURD

Everyone is quick these days to use the phrase; "you need to think outside the box", but from my perspective, every time I start a new cycle, it is just as important to think inside the box. In this case, the box is the space and volume of the kiln and how do I fill it to maximize its potential. Obviously, it is important to first plan out any orders or commissions, next comes the fill in the blank portion of planning a kiln load. In this cycle, I threw a group of large covered jars where they are widest at about the top 1/3 of the form, so I planned out a group of vases that would be at their widest at the bottom 1/3 of the pot to fit a vase between each pair of jars.

This particular time I decided to throw double gourd form bottles which I had not thrown in quite a while. Illustrated is a picture of four of the bottle/vases, the tallest just under 14", the two with hakeme slip will be glazed in the iron yellow saffron glaze and the other two will be glazed in my temmoku and iron red glazes. The one plain white slipped bottle was simply about giving me some flexibility in decoration and glazing, even though I am likely to use the temmoku/iron red combo none the less. Good to keep your options open when thinking inside of the box while being a bit out of my gourd as another week commences full tilt.