HALLOWEEN KORO

It might just be me but I thought this quirky Ki-Seto koro was perfect for a Halloween post. As soon as I first saw this piece I was struck by the interaction of glaze and texture and the outside of the box thinking regarding the cool form and exaggerated lid. This Ki-Seto koro was made by Toki native, Kato Mitsuhide who has exhibited routinely in the region and won several awards along the way as well as having pieces collected for permanent collection. The use of this particular Ki-Seto works hand in glove with this articulated, textural form where it runs for thick to thin and from dryish to wet and works to absolute perfection on the organic looking lid. I could say there are just tons of things that this wonderful pot reminds me of, but that would be a long list and take some time, let it suffice to say that I think it is perfect for Halloween, or any other day for that matter. No matter how many times that I look at this piece it constantly conjures up some emotion or another and it brings a slight smile to my face each and every time. Happy Halloween!  

FWIW I have put up a short Instagram video of this koro, perfect for Halloween; https://www.instagram.com/albedo3studio/

CONSIDERATION

Illustrated is a fairly large thrown, altered, faceted and manipulated "storage jar" made by Michael Simon. Though undecorated, the salt firing has created a soft, blushed sheen to the surface that helps accentuate all of the various lines from those incurred during the throwing process to those created while manipulating the form culminating in the broad faceting showing a spontaneous and sure handed cut. All of the various considerations or decisions  made along the way, achieved over a lifetime of making pots lead to their conclusion in a well conceived, animated and dramatic pot that is about as complicated as a simple pot ever gets.         

Looking at this covered jar it is rather clear that Michael Simon was very considered in making his pots though at the same time he embraces serendipity and spontaneity in their making. He considered the line, form, weight and volume of the various elements that created the aesthetic in clay that he was after consciously and unconsciously. The following is just a glimpse into his thought process as it relates to a good sized storage jar very similar to the piece illustrated;  "This pot began in my mind as a medium-sized storage jar, faceted nine times. The thick clay at the edge of the lid holds a substantial mass similar to the faceted walls of the pot. The profile of lid edge and clay wall unites in one line. Squeezing the bottom into a triangular shape before faceting invites the addition of short legs at the corners. These legs lift the pot and help define its structure. This jar benefits from one facet that resembles the human leg taking a step."  Michael Simon from "MICHAEL SIMON: EVOLUTION.

INSPIRATION, NOT ORIGINS

At first glance I think it would be difficult to see where this Kuro-Oribe covered cap jar came from or should I say more correctly, the inspiration, not origins of the pot. Over  the years I have long admired the sutra containers that I have encountered in various museums being especially fond of Nara period archetypes which in a wandering and not so direct path has lead me to this style of form that I have been making on and off for quite some time. In this particular case, the jar, lid and knob were made out of stoneware and the body of the form was covered, impasto style in a thick slip to create this vivid and animated surface. The knob was made out of a squared and loosely carved log of clay and attached to the lid imitating a type of stupa connecting the piece back to its origins of inspiration. This jar has a dark, Kuro-Oribe style surface that works rather well with the diagonally applied slip creating movement where the glaze is running down the furrows and channels and on the shoulder the iron has built up to create tendrils of effects which run somewhat and feed the tributaries below. I think once it is pointed out it is a bit clearer how this form came to be and though it clearly is intended for some other function these days, any use is fine from holding dry pasta to protecting rolled up documents and just about anything in between.

PARTIAL DEFINITION

Though I realize this is not exactly the best picture I have ever taken it is however the moment well over a decade ago that I realized how much I liked to see pottery partially defined by sunlight and shadows. This particular pot is a Hagi style chawan made by Tsukigata Nahiko in the late 1980s and what is rather clear in this picture is the strong form, controlled lip and distinctly cut kodai. As with many pots and their pictures, this is a chawan I would like to photograph again as this was originally shot with my old Sony Mavica with auto-focus and not a lot of room to be creative or adjust for varying light sources on the fly. At the end of the day, it is what it is photo-wise and that clearly shows off a silhouette of a rather purposeful and robust form from the hands of a master, Tsukigata Nahiko.

HAI-SHINO

Illustrated is a Hai-Shino guinomi that was hand formed and carved by Kowari Tetsuya. What should be immediately apparent and is exactly why I am a fan of Kowari's work is the spontaneous and directness that define much of his work. Pieces are thrown, manipulated, torn, ripped, fluted, carved, reattached in interesting and idiosyncratic ways that make it clear exactly who made the pot you are looking at. This particular guinomi was hand carved out of thick clay to create a generous interior, a highly active lip and an exterior that looks as if it were naturally formed where erosion has created channels down the form that fit the pot perfectly in one's grasp. With iron, ash and feldspar at his disposal, this Hai-Shino guinomi has a rather active and adventurous exterior where the material creates a surface reminiscent of geology at its best. Perhaps the best feature of this guinomi is the posture alluding to motion, a confident and determined swagger where the high points of each flute fills the hand and eye with texture where aesthetics and function collide making for a guinomi that exceeds its base purpose.     

Though perhaps a quote often used and a bit cliché, I thought it quite appropriate; "Definiteness of purpose is the starting point of all achievement."  W. Clement Stone

2D TEA PARTY

Back in the early 90s I ended up being included in a number of gallery exhibitions that revolved around the tea party theme, two in Cleveland alone. Since those were the days well before digital cameras and iPhone and film and developing were not cheap, I unfortunately have very few pictures from those shows and in fact that time period. As I have once again began trying to convert old 35mm slides in to digital images I ran across this old photo which besides having blurring hotspots from the tungsten lighting also crops off part of the image but I think you will get the broad idea of the platter. This was one of the large terra cotta plates, probably over 24" in diameter with black and white slip decoration of a theme I worked on at the time, "THE PERILS OF PARTYING" showing the animated teapot and teacups covering the surface. I am reasonably sure I only used this design motif for a short while and made less than a couple dozen plates, a group of various size tray forms and three or four teapots covered in teacups but the design as you can see did fit within the tea party theme despite not actually being teapots or cups and saucers. Making these plates afforded me another distinction in these shows, my plates hung on the wall and represented something a bit different than what most people coming to these exhibits expected not to mention taking up far less shelf space for the new owners.

ROYAL FLUSH

At over 14" tall, this jar immediately capture our attention at a gallery that we frequented on our drive between Cleveland and upstate New York back in the early 1990s. Though we are usually on the look out for small, more intimate pots this was a "has it all" kind of pot by a potter who I had communicated with (and later met at NCECA and several workshops), talking me through a serious clay problem and later through a glaze shivering issue, in these phone calls, John Glick was patient and shared endlessly with his base of knowledge. As you can imagine, stumbling on to this large jar was made all the better for the somewhat personal connection, well that coupled with the fact that I love covered vessels and the surface was just perfect and a bit surreal. The pot has a wide array of decoration all atop a wonderful, lustrous Shino glaze showing off iron, cobalt, copper and a sprinkling of ash to create a classic Glick jar that is unmistakable and never successfully duplicated. Presumably everyone that owns a good John Glick pot thinks theirs is likely the best but for us, the personal connection, the memories of his kindness is  just like a royal flush.

ANOTHER DAY A DIFFERENT ACCOUNT

So in terms of dealing with Instagram it has been an interesting couple of days, in other words, another day a different account. I was able to access my account one minute and then locked out the next. Over a 48 hours I tried everything possible and followed all of the "help" tips and instructions to no avail so starting a new page seems to be the next best option. As blasé as it may sound, though I like the community and seeing what other potters, craftsmen and artist are up to, I am not that motivated by the likes or followers though they are most welcome. When I started my Instagram page it was a lot like my pottery blog, I, POTTER, more about crystalizing my thoughts on objects and sharing what little I may in the way of my personal work and the pots, mainly Japanese that I come in contact with.  All that being said, as I am often reminded, I will start at the beginning and see what happens and where this goes. Though I may put up a few previously posted pictures from my original page just for familiarity sake, my intention is to just continue to move forward and post on a more or less daily basis. Any thoughts, remedies or criticism are welcome and received as they are intended.      

In an effort to bring this post back to the actual subject of pottery, here is a nice sunlit photo of the top half of a Shigaraki henko by Furutani Michio. Enhanced by the sun and perhaps a bit mysterious coming from out of the shadows what makes this slab henko just a bit different is that it is small, low and a bit long compared to the bulk of his pieces employing this building technique and formula. This piece has a low profile, sleek frame and just the right amount of ash and hiiro to animate the form and draw in one's attention. I should lastly point out the neck and mouth, made by the coil and throw method that is starkly different than those on the larger slab henko and this gives the piece a very distinct look among the other pieces of this style. In the end I find it so odd that changing just one detail can create such a disparate appearance from the pack.

Old locked account;  https://www.instagram.com/albedo3studio/

New account;             https://www.instagram.com/albedo3studio2/

PROTOTYPE

I was recently asked if I could turn one idea into another and make a tallish triangular katakuchi style pouring vessel and this is the initial prototype that I came up with to make in three dimensions. Obviously thrown and altered, rasped for both definition and texture and with a cut style spout applied, this pot is currently loaded in a bisque that I hope to get fired tomorrow.  Once bisque, the intension is to glaze this katakuchi in Kuro-Oribe style and hope the end product meets with the approval of the customer. This was not the only idea, which was drawn out as a lower, wider katakuchi but the taller version won out and here we are. 

The timing is good as a group of these are needed for New Years which gives me plenty of time to get eight made. Apparently these is no need for guinomi to go with these as he already has a good group to choose from but since I am always prone to making an extra or two I am likely to go ahead and make a few small cups to go along with the pouring vessels. That being said since I don't necessarily think small triangular pieces are perfect for drinking I wonder what I can come up with. Thank goodness for pencil, paper and eraser, saves on the clay cost and doodling/designing can happen anywhere and anytime.

PRETTY CLOSE

Illustrated is what can only be described as a classic, quintessential  Shigaraki Oni-oke mizusashi  by long time veteran potter, Okuda Eizan. Thrown out of a fairly processed Shigaraki clay, meaning less stones and inclusions in the clay, this pot is the perfect shape and size for use with just a few banded potter's marks running horizontally around the piece which terminates in a big, fat rolled lip which immediately captures one's attention. Okuda who is know for his firing style, katami-gawari where front and back have two distinct appearance though in this case it is not quite as night and day as I have seen on some of his anagama wood fired pots. The face of this mizusashi is covered in a sheet of glass which appears to be in perpetual motion away from the point of maximum inpact. fading away as running tendrils of ash embracing the piece before ending up spent of energy leaving an area of hi-iro abstractly decorated by running ash and large bidoro drips here and there. I don't think I can go so far as to say perfect surface and perfect form but it certainly does get pretty close.         

As for Okuda Eizan (B.1944), though perhaps not as well know or popular in the West, he springs from a family tradition working in Shigaraki Valley where he has shown his work over the decades as well as around all of Japan. Though best known for his wood fired Shigaraki pottery, Okuda has branched out and works in a wide variety of glazed ware adhering to the Urasenke tea school sense of teaware which at first glance would hardly be recognizable as work from his hand so diverse is his output. Added to a lifetime of discipline and exhibitions, Okuda received the patronage and guidance of the somewhat eccentric priest, Shimizu Kosho, head of the Todai-ji temple. Though this is an abbreviated biography, I think it is safe to conclude that Okuda Eizan is one of those individuals who likely personify the concept of adding as much to one's repertoire and plate to best understand all aspects of craft and art that much better, from pottery making to tea ceremony and their unending and unyielding symbiotic relationship.      

IRON ON IRON

From the moment I first saw a photo of this chawan, I was just drawn to the direct and playful nature of the bowl. The form is simple, honest and appealing but the addition of the tessha like iron glaze, almost calligraphic in nature is just fun, playful, exuberant that fits in the hand and blends function and poetry as effortlessly as a bird takes flight. Neither large nor small, this bowl has a strong form with just the slightest amount of unevenness around the lip while terminating in a kodai that is practical and sturdy showing off the softly textured clay that the pot was thrown from.     

From my perspective, this iron glazed chawan is a classic extension of the Kyoto aesthetic blended with an inexhaustible sense of exploration and experimentation regarding the use and potential for iron in glazes. The creativity of Shimizu is not only easy to witness in this chawan but in the majority of his work over five decades of working in clay. Though this is an older work, this chawan, expressed with the use of iron on iron, demonstrates an insight and understanding into iron as paint together with the skillful choice of clay and form as canvas to bring life out of a handful of natural materials now manifest as an object that stands the test of time and appears to have had a good time while doing so.

WARP SPEED

I showed this bowl to a friend a while back and his first comment was, "warp speed ahead" as it reminded him of any number of sci-fi movies where the spaceship is moving quickly through space and passing by countless stars. After he made the comment I could clearly see how he interpreted the surface interior also simulating just a hint of the expanding universe. As for the bowl itself, this is a bowl I have made quite a few of over the years, sometimes sake cups, condiment bowls, teabowls, what have you thrown out of various clays though this one is stoneware with indented lobes. The pot is base glazed in temmoku and then dipped in a wood ash glaze and as it runs it leaves this rather defining golden brown lip which I think adds quite a nice effect to the piece. I think at the end of the day, I really don't care what you see but that in looking it brings up some memory, experience or your own allusion and that being the case, I have done the best that I could.

KONDO KOHIKI

Old, antique and honest spring to mind as I look at this kohiki chawan. I see the origins of Korean pottery rooted in the very soil and surface of this chawan and in fact the work of much of the pottery made by Kondo Saeki. The bowl form is unpretentious, practical and eminently functional for tea ceremony or an evening meal yet there is a hint of subtle and sequestered nobility that is like an aroma surrounding the bowl. The surface is old, desiccated even but full of movement and life down to the fractured and crackled slip covering the iron rich clay to the alkaline appearance of the glaze that pools and runs to create a rich blue green tint that is pleasant to the eye and adds to the overall aesthetic of simplicity balanced with complexity.    

Kondo Saeki has dedicated his creation to explore slipware and has mastered this style of kohiki ware as passed along to him by his master, potter and scholar, Koyama Fujio. Kondo opened his own studio and kiln in the mid-70s, Haruzawa-gama in Mizunami, Gifu Prefecture where he has challenged himself to create fine works inspired by and dedicated to his master (Koyama) that show the classicism of modern Japanese wood fired kohiki ware. This particular chawan has a richness and complexity of surface that has sprung from the simplest of techniques; throw a bowl, dip it in slip and then glaze and fire it, which kind of reminds me at its core of Sen (no) Rikyu's explanation of the tea ceremony, "first you boil water and then you make tea and drink it".