P&T

I have put up posts on my blog previously about the potter Yamada Seiji and when ever I think of his work, two things spring to mind; proportions and texture. Though I am sure this is a generalization as every potter has good days and bad, with many of the encounter of Yamada's work the proportions of the respective pot are quite spot on, whether it be the bowl size or shape in relation to the kodai or a vase like this Shino mallet where the body and neck work quite well together where the body tapers inward as it rises to be topped off by a neck that does just the opposite and the height of each works well to compliment the overall aesthetics of the pot. 

Beyond the form and proportions of this mallet, the use of a single glaze in varying thickness has created a pleasant landscape, abstractly painted with color and texture to help narrate the structure. Using skill and intuition accumulated over decades, Yamada builds his pots based on purpose while acting as a canvas for the beauty of Shino which he has written about over the years and has concluded that Shino deserves the right degree of respect, can not be forced and should be used in just the right way. Though that expression was paraphrased, what is clear is that with his pottery in general and Shino specifically, Yamada Seiji understands that Shino is the most Japanese of all glazes and should only be used with insight and respect which is clearly baked in to the clay and glaze that he has married together through fire and a bit of personal creativity.