SPIRIT OF ECHIZEN

Though I repeatedly tell myself I am not a collector of guinomi and tokkuri it seems like fate that I should end up with yet another of either of tse forms. Case in point and likel (?) our last pot for 2024 is this Echizen hekishayu tokkuri by Nishiura Takashi. Thrown out of local clay, the full, fat little form is light in weight which defies and stands up to the harsh firing process necessary to create the blue sand surface, frozen in time. With every turn of this pot it presents a landscape full of engaging details that not only please the eye but have a tactile warmth that makes it hard to put down. Perhaps the most intriguing detail is the area where the applied glaze transitions to the natually wood fired effects, creating a three dimensional boundary that circumnavigates the piece. Almost every encounter with Nishiura's array of forms, styles and surfaces leaves me quite satisfied though at the same time creates a quest to see yet another piece to compare and contrast the pots to best understand his lifetime of dedicated pottery making and the very spirit of Echizen in each and every one.

CBL

There is a near immediate recognition when you spot a pot by Ono Kotaro even when it is hanging out in the shadows. The icy clear, yellow or blue glazes that cling to the surface accentuate the meticulously carved lines that curve and wrap the form in a diaphanous embrace. This seiji tsubo by Ono was a Christmas gift for my wife who loves a wide array of pots but i do suspects she prefers them to the more rustic and esoteric Oni-Shino.         

Though not too large, the form is simple with the elegant curvacious carving creates a rather sensuous appearance that is the perfect balance between inviting one in while suggesting being a tiny bit distant. Perhaps one of the most appealing aspects of this tsubo is where the glaze has built up ever so slightly adding to the feeling of perpetual motion as the undulating lines go round and round bringing the viewer "there and back again" and never tiring of the cool blue landscape. In retrospect, this icy beauty was just a perfect gift for the season and current, icy climate.

HAPPY HOLIDAYS 2024

Just wanted to wish everyone Happy Holidays, Season's Greetings, Merry Christmas, Happy New year and lest we forget, Festivus for the rest of Us!  (The long oval porcelain form is by Bruce Gholson)

RUSH

Every year about this time I am always wondering, what will be the last order, the last package to go out and every year it gets so close to Christmas and New Years that I just don't think I can get things done or out in time. This year, the last package to go out was on Friday, two sets of four bowls each in two different sizes, the package is supposed to be delivered tomorrow, Christmas Eve. However, this year my very last order came last week, for pots not made or fired mind you asking if it were possible to get them at their destination by next Friday, 12/27.     

The order was for two teabowls and two koro with lids, on set in soda blue and the other in Oribe and came in last Tuesday. Thank goodness they were smalls so I set about throwing the four pieces and two lids and got them all firmed up to trim later that afternoon, don't ask, stupid drying process. Once tooled and slipped, all four were force dried and put in the small kiln that evening and I fired them to bisque and quickly unloaded them by Thursday morning where they were glazed and reloaded for a glaze firing which I fired on Friday but just couldn't get them cool enough to make the Post office on Saturday. Packed them up yesterday morning and shipped them off this A.M. With any luck they should arrive on Thursday with one day to spare. Though I like a challenge, more often than not these types of rush jobs don't always end well. Hopefully next time around I have at least one extra day.      

I didn't take the time or get the opportunity to get the pieces photographed so I am using a stand-in for a photo to go along with this long winded tale. This teabowl was thrown out of stoneware and then had white slip apllied before getting the hakeme treatment for which this form responds rather nicely. The bowls and koro were all based on this form and idea though two were done in Oribe, at the very least it gives you an idea of what all the rush was about.

 HAPPY HOLIDAYS TO ALL!

LEGACY

I heard a couple weeks ago that one of my favorite potters has passed away, Nishiura Takashi (1941-2024) of Echizen. His work is filled with the primal elements of what I think of as the Echizen tradition in modern times and of course there was no measure spared in adding a few spices to the mix and clearly showing his own voice in surface and form. Beyond his traditionally fired Echizen pots, Nishiura is well known for his hekisha-yu, blue sand glaze which though doesn't immediately appear like your everyday Echizen potter, it clearly adds another layer (no pun intended) to style that runs the gamut from very traditional to the likes of Kumano Kuroemon.   

This particular Nishiura tsubo was originally thrown round and paddled gently into an ovalled form creating this disticnt henko style for which he is well known. As is abundantly clear, this form is a perfect canvas for the applied sand glaze and the array of wood fired effects that build up and melt the surface into what stands before you. As a mixture of happenstance, gravity and temperature, the hekisha-yu surface paints the canvas in a unique way, never duplicated placing a narrative in front of the viewer that will vary from person to person and certainly from pot to pot. 

Though I am rather sad in hearing about his passing, I believe that Nishiura Takashi will inevitably be remembered as an essential lynchpin between the older tradition and what has become the modern state of Echizen-yaki leaving behind a legacy of pottery that clearly proclaims that Echizen stands with the other Rokkoyo and is ready for whatever the future holds.

 

SMALL & ROUND

So what is small and round and feldspar all over? In this case, a classic Shino guinomi by Kato Yasukage XIV, though the box is signed Shoji this mini-chawan is a very close approximation of the full size thing complete with the traditional hexagonal decoration. In fact one of the characteristics that appeals to me about this guinomi is the proportions which are relatively close to that of a similarly handled chawan by Yasukage. Similar in form, the high straight sided walls, slightly meandering lip and foot to base ration, being stable but neither too large or too small. Though this is not lkely to any use, it does feel good in the hand, coming in at about 120grams (thanks J.) Kato Yasukage created a traditional, simple and eminently functional miniature chawan that at the end of the day is perfect to use, filled to the brim for what ails you.

TOO FAR?

Tall lobed yunomi with incised and stamped decoration around the form. This yunomi started life as a simple lobed piece that I make on a semi-regular basis but I wanted a canvas to test the incised and stamped decoration together. Once decorated, I decided to go with my newish incarnation of this amber glaze. I think that though the surface is a bit full, it is not so crowded and works well with the glaze, making for a simple addition to a yunomi or teabowl moving forward. Coming off the heels of this test yunomi I have also upscaled the decoration to some smaller covered jars ad some vases as well. Truthfully I have a tendancy sometimes of going a bit too far with decoration and glazing so ending up with a concept that butts up against too much without straying into that territory is a big win as I look at it.

YOHEN

When I first saw this mizusashi I immediately thought, well this is the absolute definition of Yohen-Hagi if I have ever seen one. The kiln atmosphere and charcoal bed have altered what one normally thinks of as Hagi into this near alien panorama that works perfectly on the form and exposed clay, presenting a landscape over varying colors and textures on a solid, sturdy form. Beyond the variations on the hagi theme, the form has a wonderfully textured black lacaquer, roiro lid that is custom fit to the slightly ovalled mouth where lid and lip work in perfect harmony with each other.     

Over the years I have seen a number of first rate Hagi pots by Sakata Keizo (1949-2004) and always what piece I will next encounter and what exotic or traditional surface and form will it be. Like the work of Sakata Deika XIII, Keizo pursued a rigid and structured path until he found his own voice within the Hagi tradition where simple pots like this mizusashi are adorned, embellished even with surfaces that help a Hagi pot stand out from the crowd. While Sakata Keizo's career was somewhat short he has left a memorable trail and addition to Hagi and as such he was honored with the title Sakata Deika just after his untimely death.

RETRO-VIBE

Small covered cap jar based on exagerated bamboo nodes from a couple of firings back. This pot was thrown/ tooled and then covered over in a thin black slip before applying a thick white that was given the hakeme treatment. Once bisque the jar and lid were glazed in the soda blue for a nice light appearance which has a nice retro-vibe to it. This jar isn't too big or too small and and is part of a form group that I used to refer to whirling dervishes though this one is a bit more emphasized creating nice high points for the glaze to pool on. The past month has seen me bogged down in making terra cotta pieces just as I was getting a firm footing on the way to use this soda blue glaze which admittedly has its idiosyncracies and limitations. Even though it has been five years or longer since I last worked with this glaze at the end of the day it isn't exactly like I am starting from square one even if it feels like that on any given glaze day. Next step, make up 8000grams of glaze.

COOL BLUE

Illustrated is a rather large seihakuji covered box by Kubota Atsuko with an overall design of strawberries and foliage wrapped around the exterior of the surface. This wonderful cool blue form was exhibited and illustrated in one of her major exhibitions a while back and is a classic piece showing her mastery of porcelain, her applique technique and her use of celadon glazes for which she is know worldwide. The meticulous raised surface adorns this perfectly crafted box and is completed with a glaze that brings the entire piece together and presents a slightly otherworldly glimpse in three dimensions. Though Kubota is probably best known for her large, intricate platters, this condensed, dimensional form clearly shows off the best of her oeuvre and has the added benefits of being far easy to store, display and use and I have to admit, this piece is far more intimate and personal that what I was used to seeing which is honestly is my preference.

https://www.trocadero.com/stores/albedo3studio/items/1499000/ILLUSTRATED-EXHIBITED-SEIJI-COVERED-BOX-BY-KUBOTA-ATSUKO

BLUE SAND

It has been a busy and not in the good way kind of day so I am just putting up this quick detail of a Echizen wood fired pot by Nishiura Takeshi. The way in which Nishiura glazed this tsubo in his hekisha-yu, blue sand glaze has made for a wonderful landscape which is brought out to its fullest in the sunlight of the mid-afternoon, though some while back. The colors and texture on the vase create an endlessly moving and flowing surface that looks just a little bit different depending on your approach to the pot. Adding a new layer to the Echizen tradition, Nishiura Takeshi made and fired his pottery with enthusiasm and dedication and those attributes are clearly written across the pots surface.

WHY NOT?

I have to admit, I totally forgot about this 2Vu picture that I assembled only to run across it this morning. The original faceted Oribe water jar was made as a commission some while back and the intention from the start was to make a piece that fit an existing lid that was sent to me. This water jar was thrown somewhat thick and then quickly faceted on three planes that run around the piece horizontally while leaving a raised ring that interupts the facets and completed with a cut foot that compliments the form.  As with a lot of these pots, I went with the bare bones Oribe glaze which pools quite nicely where there are impendiments to gravity creating areas of deep, dark green accents about the pot.       

There is a slight irony to this posting as only the other day, a Japanese pottery collector asked why Westerners would make such pieces and my answer was quite simple, why not? Where would potters be without exploring forms and styles where ever they originated from? I suspect they would all just be stuck in the mud!

THE DETAILS

I have be fortunate to see and handle a lot of chawan (and other pots) by Tsukigata Nahiko over the years and to see even more on the internet and in various publications and from those experiences I have been able to take away a number of hard and fast rules. One of those "lessons" is that it does not seem to matter whether a pieces is Oni-Shino, some Shino variant, Oni-Hagi, Kohiki, Ki-Seto, Seto-Guro, etc, the vast majority of these pieces all have fairly round kodai, tooled round and finished round, finding a kodai that doesn't fit this formula is a bit like finding a four leaf clover, not impossible but perhaps best described as unusual.       

Illustrated is the base of a chawan that is in itself a bit unusual, the form of the bowl is kutsu-gata, also not round(ish) and as you can see, the kodai is a bit ovoid and though not easy to orient in this photo, in some respects looks a bit like a seated Daruma, narrower at the top and wider at the base. The wonderful tsuchi-aji and wad shadows are highlighted inside the depression where the foot was excised and is now surrounded by a wet, gray ash from the wood firing process, ash runs toward the footring as gravity and promethean fire has added to the iron and Shino glazes Tsukigata used prior to firing. Together with the well cut foot, running ash and glazes the potter has added more decoration to the bowl leaving his fingerprints cemented into the surface of the pot where he held the bowl while he was glazing it.       

I realize pointing out the anomaly of the way the foot was cut and addressed seems a small, almost insignificant detail but my personal belief is that the details make the pot, these same details authenticate the pot and these details are exactly why a potter builds a reputation over sometimes decades and decades of work. In the end, a potter like Tsukigata Nahiko is sought after because collectors flock to those details, no matter how small and when you add them all together and manage to fit them all on one small bowl it can be magic.

KOFUKI

I would be hard pressed to think that if you like kohiki style pottery that the work of Takahashi Samon wouldn't be front and center on a want list. Takahashi has dedicated his career to working with a number of different slip creating these cracked, dessicated and highly textural backdrop over which a semi-translucent or clear-ish glaze is used to either highlight or soften the narrative used on three dimensional forms.       

This kofuki style guinomi is a classic form and surface used by Takahashi Samon where the near perfect proportions bely the size presenting itself as a chawan in miniature which makes the piece all the more engaging. The hints of beige, cream, white, grey and black are all softened a bit by the glaze used which has large swaths of mirco-bubbles trapped presenting a slightly hazy appearance. This kofuki guinomi is very typical of Takahashi Samon's work and if you like "slipware", it doesn't matter what you call it, kofuki or kohiki, this potter has added decades worth of additions to a tradition that stems from ancient Korea to modern day Japan.

QUICK TRIP, QUICK POST

Last Weds. we made our way on a quick trip to Syracuse, to Mixed Methods Gallery to drop off a group of new snowberry and plum blossom terra cotta pots to compliment this display of mostly carved tebori pieces, a few B&W pieces and one lone abstrakt resist oval baker. The goal for gallery and this potter was to get work there prior to black Friday and hopefully entice those who are shopping locally at smaller businesses. I realize this is a quick post about a quick trip but between shopping for Thanksgiving day supplies, a bottle of wine, and other misc. errands, time has passed quickly today. One and all, have a Happy Thanksgiving Day if you are so inclined.

TRIREME

I find it rather fascinating that while looking at objects, we all bring in varying experiences to what we see or are reminded of in a disparate number of interpretations. To that end, when I first saw in this long, noble covered serving piece, all I could think of was how it reminded me of the ancient Greek trireme, the ancient vessels of the Peloponnesian Wars spanning decades, the Odyssey, Ulysses and other tales of a time of heroes. This wonderful detail shot is just one end of a wood fired oval serving piece made of porcelain by Bruce Cochrane. Though I am unsure of his inspiration and motivation, I am instantly transported to my youth and reading about the heroic tales of the ancient Greeks and the wars between the Athenaean and Spartan states vying for power, dominance over the region.      

This long form is sandwiched between these iconic ends which look like the fore and aft terminations of some vessel out of history, slicing through the seas in perpetual movement. This end is clearly the recepient of lots of ash which has melted and created a beautiful blue-grey surface that shines and calls out for attention, a bit like the sirens of the Ulysses tale making for a perfect handle or simple decoration that adds depth and purpose to the enlongated, altered dish. It is funny what we see in a pot, what reminds me of an ancient trireme may end up looking like something entirely different to the next person who comes along.

OLD & NEW

When I first saw this kohiki chawan all I could think of is that it just exudes a sense of antiquity. The form is simple, casual and certainly not fussed over in the least as if it just sprung to life from off a hump of clay on a potter's wheel. It is easy to see shades of much older pottery in this bowl especially from various Korean potteries from centuries before this bowl was even thrown. Thrown out of a gritty, slightly sandy clay, once thrown and tooled the body was covered over in a white ship which as it dried and fired cracked and fissured creating a wonderful soft texture under this yellow amber ash glaze (ame-haiyu). The proprotions of the bowl to foot work nearly perfectly creating a foot that acts as a stable and study pedestal to a broad and flaring form that despite its termination appears to continue to reach out beyond its actualk circumferance.    

In case you didn't recognize the potter, this ash glazed kohiki chawan was made by Kyoto potter, Kimura Morinobu. Spending much of his life pursuing ash and iron as the main constituents of his glazes. Though this may or may not be common knowledge, ash varries trememdously from batch to batch, tree to tree and bush to bush and though he would burn these materials himself, there is a great amount of diversity between new batches of new glazes. I have seen this style glaze a number of times and this one has more depth and activity that my previous encounters though I can't quite say why, using natural materials adds that small degree of serendipity to each and every firing and pot. However this pot came to be it would seem that the potter, clay, glaze and firing all worked in simpatico creating a near perfect relationship between the old and new.

SWING

Kishimoto kennin is a rather engaging and intriguing potter in my opnion, on any given day his work can swing from strictly traditional, to contempary to almost abstract and innovative and this is only his Iga pots that I am talking about. When you add in his kannyu seiji, celadon pieces, Kennin's diverse path has had him explore and master a wide variety of styles within the Mino tradition, wood firing and ceramics inspired from across the sea on the Asian continent. 

This particular Iga hanaire is a combination of tradition with a hint of contemporary styling creating a broad, powerful and sturdy form for a purpose rooted in untility. The use of traditional Iga style paddled decoration with the nobility of added lugs washed over by ash and a deep fire luster, this vase exceed expectations and the norms and though signed, it has a that rather spot on Kishimoto Kennin identity and presence, brought to a point where potter has refreshed the idea of exactly what is a classical form.

ANOTHER BLUE MONDAY

Illustrated for another blue Monday is a soda blue glazed neriage teabowl from a few firings back. I was pleased by the way the soda blue and black and white body work together and think this expands the use of this glaze just a bit more. Though I will likely try this glaze over a more complex and diffuse neriage, I really far prefer the bold, simple pattern as it stands out quite well and the balance between the light and dark is appealing to me anyway.

CHA-TSUBO

I took this quick, impromptu picture a short while back of this little pot by Tamba potter Nishibata Daibi (1976-2010). Marked "cha-tsubo" (tea jar) on the box, this little chaire like piece clearly shows a number of cues from his father's work, Nishibata Tadashi. Thrown out of a coarse iron clay, the pot was quickly faceted opening a wonderful texture in the clay before it was later glazed showing off that classic Nishibata/ Nishihata style. Though small in stature, the tea jar shows off a rather sturdy presence and instead of an ivory lid it is finished off in a ceramic lid, clearly glazed in white to give the illusion of the normal chaire lid. 

Perhaps my favorite feature beyond the purposeful faceting is that wonderful horizontal texture that moves vertically up the form showing through some of the glaze surface until it just disappears under the opaque white at the very top and shoulder. This is not a very complex pot but there are details and subtleties that bring life to this little gem adding to the mystique and appeal of a potter who had many more pots to make within a tradition his contributions were made all the better for.

OLD HAUNTS

Yesterday was a road trip day, down to Southern Conneticut to drop off pots at Wesleyan potters, have a lunch in a familiar spot, go to a favorite old spirits shop and of course, stop at Meriano's Bakery. Going back down to the shoreline is always a nice trek and yesterday we had pretty good weater with only a few minutes of overcast and cloudy skies all day. It only took about an hour to inventory and drop off my pots so by 11am, we headed further south visting some old haunts, places we would frequent more often than I should mention when we lived in Guilford, CT. Illustrated is a grouping of canoli that came from Meriano's on a snowberry tray made here at Albedo 3 Studio. Upon closer inspection we realized we should have bought more pastries, there is plenty of room left to use if you can see any of the squared platter through the sweet goodness! 

Eclairs and canoli by Meriano's, pottery made here at Albedo 3 Studio.

TWIST

Illustrated is a modern twist on a rather old tradition, this Bizen henko was made by Kimura Gyokushu XVII and though it relies on centuries of prior work and firing it carves out its own niche out among a large field of contenders. Aided by the flashed fire pattern and the dramatic form, this henko appears to be in forward motion but it rests upon a sturdy base and is perfect for heavy use or its visual appeal on a shelf or desk. The way the flame licked the form on either side has created bands of color that work well with the ash that has coated much of the mouth, top and shoulders terminating in cascading runs of a matt, tan ash down the front and back of the pot. In the sunlight the subtle, combed texture created when the pot was made stands out and further adds to the overall Bizen aesthetic suplimenting the illusion of movement even more. I think that the velocity of the firing process and nunaces considered by Gyokushu have worked quite well to create a rather animated henko that in use or not will always seem like it is on the move and perhaps just one step ahead of the viewer.

You can see more of this Bizenhenko over on my Trocadero marketplace;

https://www.trocadero.com/stores/albedo3studio/items/1498055/ROBUST-BIZEN-HENKO-BY-KIMURA-GYOKUSHU-XVII

CONFLUENCE

An emerald, part of the beryl family is made over great amounts of time, under tremendous pressure and cultivated by millions of years of heat with a hint of chromium and as one can imagine, it is a very coveted material. On the other hand, this emerald appearing bidoro drop is created over a relatively short span of time, little to no pressure and again in comparison to the mineral under less intense heat. Let's face it though, for anyone interested in pottery, this little gem and the multitude like it, it is highly sought after and is created in the same way as the actual mineral, happenstance, serendipity and what is really a confluence of all the right conditions; materials, heat and placement all aligning just right.      

In case it has alluded you, this detail shot comes from an Oni-Shino hanaire I handled a short while ago, not particularly large but just jam packed with every feature you could ask for. In this case, the photo is of the upper lip area which droops into the form and where the ash has built up during the firing, it has eroded small channels inward that then have guided the molten material into this singular point creating this deep, rich emerald green drop. I should mention there are two such channels and frozen drips on the mouth of this vase which must have acted as quite the leaky faucet as the entire interior floor of the vase, almost four inches across is solid, fractured green glass at least a quarter of an inch thick. Though I wouldn't mind having a handful of gem quality emeralds, this vase and its wonderful details and colors not to mention the beautiful bidoro is just fine by me and was worth the drive to get to see and handle yet another Tsukigata Nahiko piece that has made such a long journey.

HISSEN-GATA

A while back I was playing with a number of teabowl forms and decided to revive a style I had not made in a rather long time, the hissen-gata chawan (brush washing teabowl). This bowl was thrown out of porcelain and pushed slightly oval and I decided to go all in with the drama and cut in the recesses a bit deep to over-accentuate the look of the lip and bowl overall. Once tooled I applied thich slip and combed it from foot to lip creating a slight sense of movememnt around the bowl and glazed it over in saffron yellow which honestly makes it glow a bit depending on the light source. As a by-product of how this was glazed, the interior has nearly perfect lines of running glaze culminating at the interior spiral which has filled with glaze and is a deep, rich and dark amber in color. I made a couple of these and though the opinions are mixed, this is perhaps the best of the group and after all, the sun seems pleased enough to lend a hand in showing off the details and nuances of the bowl so who am I to argue.

IMPACT (II) REVISITED

I was searching through a thumb drive filled with pictures and ran past this photo of a large Shigaraki tsubo by Takahashi Shunsai and decided to post this up to fill in some of the blanks and give more of a perspective of what the other side of the tsubo looks like. The original post from 2021, entitled; IMPACT II shows off the dramatic face of the tsubo covered in running ash like a cosmic impact of molten ash collided with the surface. In contrast to the face, this photo clearly shows the underside of the pot where it was resting , one of the wad resists clearly visable and the ash running to the lowest point of the belly traversing an array of firing effects from the prolonged wood firing. In truth, I think both landscapes present a rather evocative narrative of the pot and firing and both contribute not only to the technical understanding of the process but also the aesthetic journey where potter, clay and fire converge like some grand chronicler of old.

https://albedo3studio.blogspot.com/2021/06/impact-ii.html

KI-SETO REDUX

I know that I put this particular pot up back in 2022*, so no, the answer is my mind isn't going quite yet unless I owe you money. The previous post, entitled, DRAMA NOT TRAGEDY showed off a Ki-Seto kinuta hanaire by Kato Kozo which was photographed using non-discript incandescent light. The current photo, a Ki-Seto redux, though a slightly different angle was taken using tungsten lighting and to my eye it makes for a remarkable difference and presents the piece which is closer to the actual color showing off the more soft, straw yellow that repesents the glaze quality better. I know I dwell on the varying light sources a bit too much but the truth is that I am trying to see pots in hand to their fullest capacity and seeing them highlighted in varying ways shows and captures details, subtleties and nuances that are sometimes overlooked, now if only I was a better photographer!  

(* https://albedo3studio.blogspot.com/2022/12/drama-not-tragedy.html )

THIS OR THAT

I have been having some problems with these Kuro-Oribe glazed hexagonal bowls recently, most likely to being a bit overzealous with the glaze application but is also proof I can still learn from my mistakes. As you can see, each of the six sides are basically glaze channels and with just a touch too much glaze, the channels are acting to, well, channel the glaze to a single meeting point. The channels met at three main junctions causing the glaze to run somewhat uncontrollably down the sides, the base and to the foot where it has been running onto the plinths that they are fired on. 

I should mention, being overzealous comes from the fact that the more glaze and glazes I apply, the richer and runnier the glaze get which is a positive thing in terms of the richness of the surface but not so much when it comes to gravity and basically liquid glass. For anyone following along, the fix is quite simple, use less glaze and thinner overglazes and this will diminish the running problem which is not a bad thing. So the fix is in but I have to say, the last bowl that ran badly had the penultimate surface of what I have been after but sometimes you have to choose, really wonderful shards or a a really nice bowl, you can get with this or you can get with that!

SLIPWARE

This rather rustic kohiki and iron glazed mizusashi was made by Ogawa Tetsuo who I have long admired as one of the finest "slipware" potters of Japan. While the term "slipware" generally is associated with the English tradition of the use of varying colored slip on pottery, in japan it is more about hakeme, mishima, kofuku and kohiki stle use of the liquid clay. In this specific case, this kohiki slip has cracked to create a vivid texture across the surface of the pot which has also been highlighted by iron painting a rather atmospheric landscape like the mist or fog enveloping some far off mountain range or valley, a perfect object of contemplation for the tea ceremony. This mizusashi was thrown out of a coarse stoneware clay and then carefully manipulated to a lozenge  or diamond shape and once completed was fitted out with a custom black lacquer roiro lid.         

In short, his pottery is guided by the concept of looking back and studying the past to find and define his voice within a modern tradition which for Ogawa revolves around slipware and his choices of clay and materials. Though the idea, the concept, form and surface are all rather simple the presentation and aesthetics have a degree of complexity that is both visually and tactilely engaging though knowing a bit about the work of Ogawa Tetsuo, this comes as absolutely no surprise.

OLD SOURCE

Admittedly I am more than a bit partial to any variety of Persian or Raqqa style glazes but my favorites revolve around the work of Kato Takuo and Kato Kenji as seen here. This very simple sun soaked bajohai-guinomi is decorated inside and out tying the piece together in design and surface. Perfectly thrown out of a red earthenware style clay the piece is neither heavy or too light and feels just great grasped between the fingers. The pale blue Toruko-ao (Turkish blue) has an quality that harkens back to antiquity beside being made more or less in modern times where the near transparent surface allows the finely detailed decoration to take center stage in this concise three act play. 

From my observation I think one of the main reasons that Kato Kenji resonates so well is that he came to understand the "old source" materials, the pots of Persia and Turkey from antiquity and grasped the spirit and attitude of the pottery while moving onto his own vocabulary of forms and surface treatments he strove to imbue his own work with the ideals of the archetypes he studied. In the end, Kato Kenji was extremely adept at bringing  clay, decoration and glaze together in harmony where each played its role in the creation of his work that spans the ancient Silk Road all the way to 20th century Gifu prefecture and Japan writ large.

KATAKUCHI IN ACTION

I took a few minutes the other day to make this "stellar production" assisted by Industrial Lights & Magic* to give a rather quick idea of how my katakuchi actually pour. The Oribe hakeme katakuchi was filled about 70% and I could place my thumb inside the vessel without touching the liquid which was water for demonstations sake and I was able to fill all five, Kuro-Oribe mini-wan, bourbon cups and had enough left over to easily top all four cups off. The four cups are all made out of sandy small batch clay, gently faceted and glaze in what I refer to as Kuro-Oribe for good or bad.  The lip was pulled a bit thin and sharp and works quite well to cut off the flow of the liquid without any dribbling and the channel that runs up to the lip isn't so aggressive as to overwelm the spout making for a good, even pour without any complications. This is a short video so I apologize there is no time for popcorn . 

(*Okay, the Industrial Lights & Magic comment is hyperbole at best as is the thought this is a "stellar production" as it was filmed quickly on a faux tripod and my wife's old cell phone.)

THROWN, NOT SCOOPED

From my perspective, Kaneta Masanao has become so synonymous with the kurinuki technique of carving a pot out of a block of clay that I almost forget he comes from a family of traditional Hagi "throwing" potters. As you can see, this Shiro-Hagi chawan was thrown, not scooped and adheres to a more conservative avenue of the Hagi tradition but its wouldn't be Masanao without putting his personal stamp on the form and surface. As mentioned this chawan was thrown on the wheel where it was then slightly altered while wet, pushing slightly oval creating a broader than wider form and once a bit drier he altered the lip creating a nice contrast to the softer curves of the form with simple angles and notches which immediately grab one's attention.       

As for the kodai, it was crisply cut forming a bamboo node style pedestal giving the form quite a bit of lift but perhaps the most noticeable features is the dramatic contrast between the curdled, crawling Hagi glaze and the wettish, iron daido clay body peeking through like canyons or waterways on some distant planet. The ever so slightly off white glaze wraps the form and presents a stark sense of tension almost as if the form is being pulled apart while creating a unified presentation amidst the implied chaos. Kaneta Masanao has managed to create a chawan that straddles the old and new and brings balance to the simple and complex aspects of the bowl which is a perfect addition to the Hagi tradition and just another facet to a noteworthy career in clay.

JUST FOUR FOR FRIDAY; CHAIRE

This is sort of a follow up post showing off a group of five chawan by Bizen Juyo Mukei Bunkazai, Yamamoto Tosho. Like the previous post, these are literally photos of photos and are a bit grainy but I do think they get their point across showing off Yamamoto's mastery when it came to making chaire. The book these came from is dedicated to chaire, dozens and dozens of them and I honed in on this gang of four, just four because they said something to me specifically and if you were to thumb through the same book I am sure you would pick four entirely different pieces but this is my post (and blog) so here are my choices. Though there is something of a similar type in these four they are clearly different in firing, form and presentation of posture and character. I also think it is evident when surveying his chaire oeuvre just how fertile his imagination for form was relying on what came before and articulating what he had to say regarding Bizen clay, firing and his perception of the tradition.    

Yamamoto Toshu started in clay at an early age and founded his own kiln in 1933 along the way he gathered a profound knowledge about antique Bizen, hand picked details and attribute from the past and folded into them dignity, honesty and sophistication of earlier pottery creating his own unique vocabulary. As he matured, his strong ability and technique on the wheel leads to a facility in creating outstanding chadogu painted by antique archetpes from his studies, modern trends perculating during his early and fomulative years and his own developing inner vision of Bizen. I believe the chaire of Yamamoto Toshu stand out to this day as an enduring contribution to the tradition and potter's art in turn becoming the archetypes and role models for many post-war (post 1945) potters and even those to this day and likely for quite some time to come.

MICE & MEN

I am sure every potter can relate to this, I had intended to do a pottery-free day on Sunday, run some errands, close-up the A/C unit outdoors and some other misc. house stuff only to wake up to an email that changed some of my planning. The email was from a couple who had a cat induced accident and asked if it were possible to make a replacement lid for a covered jar which to be honest is never my favorite task. I agreed and decided to thrown two lids and knobs with about .5cm difference in size but before I could even get down to the studio, I realized that I needed four more terra cotta bowls for a gallery order so now I was going to make six pieces. 

After a late breakfast/ brunch and a quick trip to run some errands I went into the studio and made the two replacement lids and four 3lbs bowls which then turned into making up 2000gr of white slip and 2000gr of black for the terra cotta pieces. What should have been a thirty minute project turned into over two hours after the throwing, slip mixing and decorating four blanks, also in terra cotta screaming at me from the shelf, "paint me, paint me now".  So much for "the best laid plans of mice and men" as the lure of a studio just feet away from the comfy couch and TV, just seems to win out just like the siren's call to the men of Odysseus's ship and crew*. 

(*Was that a bit too overstated there?)

KOHIKI BAMBOO

Illustrated is a classic kohiki take-zu hanaire by Takahashi Samon that stradles the line between being simple and complex at the same time. The form of this vase is well articulated and clearly imitates the nature of bamboo and then this complex, cracked surface is put over the clay that creates a frenetic landscape of fissues, texture, colors and movement. Specializing in kohiki, Takahashi Samon has used a relatively common ceramic archetype and gone beyond form to present a balanced presentation of visual aesthetics and function for the everyday, well prehaps best for special occasions. Using this group of photos I intended to help build a perspective of what the pot looks like in person but was unable to capture the glistening, even glimmering surface as the sunlight illuminates and refracts through the glaze. In the future if at all possible I would like to rephotograph this vase using sunlight and shadow to help flesh out the hidden nature of the piece that is trapped just inside the surface.

ALL IN A DAY'S WORK

Anyone who has taken even a cursory look at my blog or Instagram page will not be shocked to see yet another chawan, another pot by Kimura Morinobu. I know I have said that part of the reason is that I truly enjoy how he handles clay which I also realize means very different things to different people. To me this is a simple and honest chawan, obviously based on any number of archetypes having that classic rustic, folksy, unpretentious and antique appearance, was that enough adjectives?  The bowl is desribed as hakeme chawan but in truth the thick hakeme slip has cracked creating a vivid texture to eye and hand alike. There is a transparent ash glaze over the bowl which has hints of blue to white where a bit thicker creating a wonderful contrast with the cracking underneath. 

Though I think it rather obvious in the simplicity of Kimura Morinobu's work and this chawan as case in point, there are layers of complexities surrounding the bones of the bowl like the moons of some far distant planet. The layers add the depth and attraction that a good pot should have and which Morinobu seems to bemore than a bit fluent in based in part to nearly seven decades of experimentation, exploration and dedication. I guess after seventy years or so it is simply all in a day's work.

ALL IN A DAY'S WORK

On some days I am reminded that I don't make nearly as many pots a day as I used to. Cutting down on the wear and tear on my wrists and lower back I keep throwing to less than three, preferably two hours a day while working off a script of orders, commisions and gallery restock. Yesterday was a semi-typical day of throwing terra cotta where I threw three covered serving bowls, lids and knobs, three 14" plates, three 3lbs bowls and four 2.5lb bowls and decided that was far along on the list to call it quits at the wheel. But that is not completely the whole picture, I ran a glaze fire kiln, pulled out forty pieces for an upcoming show, made out the paperwork and inventory sheet (which I just emailed in minutes ago) and then started the prep for dealing with the pots I just made, mostly making up black and white slips and getting finished pots stacked and out of the way, all in a day's work. I realize this doesn't really sound like a lot of work but for the sake of not destroying my wrists and back, this routine has served me rather well over the past decade or so despite the fact that back in the day if there weren't at least a zillion pots covering every available free space, I would just not feel satisfied but that was then and this is now.  

Illustrated are the three terra cotta covered serving bowls thrown yesterday and tooled today, two as yet to be decorated.

TOASTY

Illustrated is a rather toasty warm Shino chawan by Hori Ichiro that I will admit, surprised me just a bit upon its arrival. In the original pictures this chawan looked rather nice but quite white and certainly lacking the warmth that it actually exudes. Expecting a more or less white Shino chawan as I began to unpack this bowl it became immediately clear that this bowl had a rather appealing and welcoming surface which works in perfect harmony with the form. The meandering lip and rustic, almost rough kodai add real flavor to this chawan beyond the rich, orangy tinted surface. As I mentioned, the bowl has a warmth that many Shino chawan only aspire to and wish for, the tone and smoothness of the surface adds a rather comforting tactile quality making it easy to handle and appreciate the piece all the more. I am not trying to oversell the bowl but it does have a standout quality where depth, warmth and curb appeal all blend together to spotlight exactly why Hori Ichiro's work have added an untold amount to a tradition that goes back well over four centuries with work like this it is clear there is no end in sight.

EVERYTHING BAGEL

I have to admit it has been quite some time since I have seen and handled a new chaire by Furutani Michio but everytime I think, that the previous may have been the very last one, another one shows up. As you can see this chaire is broad, wide and sturdy in appearance and construction, The whole form is broad and overall I would say this is clearly built like a tank. Clearly marked; SHIGARAKI CHAIRE,  this chaire has a bit of everything you could hope or ask for, just like an everything bagel (!) from the glassy shoulder and cascading ash and areas of darker, deep brown ash from the velocity of the kiln. I should also note that another feature that makes this piece a bit special is that the shifuku (not shown in this photo obviously) is a simple homespun piece actually made by Furutani Michio's wife. This personal and intimate addition is something that I always greatly appreciate and makes this combo of chaire and shifuku truly a Shigaraki cottage "industry". Though I haven't seen a Furutani chaire in some time, this encounter was rather welcomed and just what the pottery doctor ordered.

WHAT'S NEXT

Illustrated is a recent etched teabowl with spirals and slashes design. This was glazed in a clear glaze with the golden brown amber over it and I am a bit enthralled with all the running, streaking that creates an almost holographic effect. The design under the glaze is clearly visable which is always a plus and the glaze creates a distinct sense of movement which abruptly stops at the widest point of the bowl, the transition between the main part of the form and the decending base culminating in the foot. Beyond the etched decoration, the rich deep, dark amber is probably the most eye catching feature which truth be told is hard to miss, though it wasn't intentional it couldn't have happened at a better place exactly where the design ends. Unfortunatley my mind is now wondering, what else, what's next in relation to this glaze because naturally, I won't be content until I screw it up.

NEAR PERFECT HARMONY

There is something rather special about a simple bowl that though subtle has all the bells and whistles you may want or need. This Yamada Kazu E-Shino is mostly pure white Shino with a perpetual wetness and texture that has a life of its own and a simple decoration just rising to the surface in bold or muted tones of iron red adding some depth and movement to the bowl. In truth, the simple yet gestural form is an apt canvas for Yamada's classic Shino glaze that is fat and full adding a pinch to the volume of the pot where its motion and posture are enjoyable all on their own. This is a large, robust bowl, a handful if you will that has a good, considered lip and a kodai that speaks to the fact that the potter is rather practiced on this features. Putting these details together narrates the character and presentation of the chawan which though simple is like many other pots, nothing short of complex  getting all the pieces to work together in near perfect harmony.

PEANUT BUTTER & CHOCOLATE

When I first saw this chawan and read the box I was immediately transported back in mind-time to the old Reese's peanut butter cups commercials, "you got peanut butter on my chocolate".  The box reads; SHIGARAKI-ORIBE and though I have heard a number of things paired up with either, the combination was a bit new to me. This chawan comes from the inventive persona of Kengo  Saeki where almost anything would seem possible as longs as he doesn't stray outside the laws of physics, where old feudal locks become wood fired vases and old koma-inu become fanciful, whimsical and even comical caricatures of centuries of traditional representation.    

Like many of his Shigaraki chawan this Shigaraki-Oribe chawan was wood fired and is a study in his forms and texture where the tactile qualities and aesthetic decision making wrestle with each other to see who becomes the dominate player but like many competitions, a draw is called as they are equally matched. As you can see the paddled texture completes the sturdy, almost angular form as it it was hewn from a block of stone or close enough, clay in this case. The form fits well in the hand and despite its presence it is neither too heavy nor to light, it would seem that Kengo Saeki landed smack dab in the Goldilock's zone once again. Shigaraki-Oribe, the term grows on you and the more I think about it the more natural it sounds.

 

CITRINE

Illustrated is a recent teabowl made out of a sandy small batch clay with the new(ish) golden brown amber glaze. I am trying to figure out where it works and where and doesn't and give it a little more depth but testing can be challenging by going too far or not far enough. After several more adjustments something new has shown up, where there are small voids of collection points, the glaze settles in to become like citrine, sparkly and puctuating the surface here and there. I can't say I exactly know why or how but realize the more I fiddle with the glaze the more likely I will lose some of the features that add interest to the surface. I think my next steps will to leave the glaze formula alone and start by adding a wash or two or three to the surface and see what happens next. I realize I can't just leave things be and will continue to tinker with it until the next time I unload the kiln the test piece is surrounded by a puddle of glaze.

WAY BACK MACHINE

Illustrated is a rather robust and sturdy covered Shino and ash pot by Don Spraque of Oregon and every time I walk past this piece it is just like a 'way back machine" bringing me back to our time in Cleveland. This covered pot was purchased from Sylvia Ullman at her gallery, American Craft Gallery in the 90s and has found its way on a shelf in our home through a number of moves and has never lost its appeal or presence especially as I turn the pot base and lid quite frequently making for quite a number of presented faces.

Thrown out of stoneware, the pot is a vocabulary of Spraque's pottery marks and stamps and the lid is finished off in his classic, ritualistic knob while the surface is a rich Shino glaze going from a blushed  orange to a more sedate creamy color with applied ash here and there adding a some visual accents where needed.  The base is finished off with the footring being cut away to provide four stable feet making for a nice sense of lift and shadow. This is a hard pot to tire of as there are little details here and there that keep you on your toes wondering, did I know or remember there was a small impressed stamp here or there making it almost factory fresh every time I pass by.

JUST ANOTHER ONI

Illustrated is a rather stoic, defiant and possibly irate Oni seated and taking full advantage of the sun as it emerges from the shadows. Though this is just another oni in the oeuvre of Fujiwara Ikuzo, this particular piece strikes a chord with its strong posture and pose and the well fired surface where just the right amount of ash has coated the form without obscuring any of the details. Carved from a solid block of clay by Mashiko artist, potter Fujiwara Ikuzo, his process starts out in a flurry where he gets to the bones of the sculpture, removing the broad strokes if you will before honing in on the details and bringing character and emotion one knife cut (or chisel) at a time. 

Like something akin to Frankenstein's monster, hewn from some amount of malleable earth, it is not electricity by rather the intense process and flame of the wood kiln that breathes life into his creation. The sheer diversity, animation and scale makes Fujiwara Ikuzo's work worth a second, third and one hundredth look to drink in all the spirit of the clay and his various studies of mischievous oni.