TETSU-GAMA

The box for this small Kojima Kenji sakazuki reads; IGA, TETSU-GAMA GUINOMI, KENJI and after handling it, the "cryptic" iron kiln notation makes a bit more sense. Thrown just on the thinner side, this open form has just a bit of uneveness to the posture and lip and the foot was very casually cut making for a stable but slightly wonky pot at first glance. Clearly wood fired, the surface is covered in a layer of melted iron from either slip or glaze and then further cloaked in natural wood ash creating a variety of effects including a rich cascade of brown ash and iron and ash crystals punctuating the interior of the guinomi. The exterior face of the piece was incised with the potter's mark which is now covered over in the same brown glass as part of the interior which is both a nice feature to admire as well as its tactile appeal. There is a lot going on with the form and surface of this Kojima Kenji guinomi which as I am wont to say, it punches well above its weight in both its aesthetics and function. 

 

FIFTEEN MINUTES OR SO

I built a couple of pots today out of slabs from yesterday and realized I had a semi-firm piece of slab that I likely could make something out of and decided on a fifteen minute project. Since I rarely make plates or dishes with this challenge I decided to go with a raised piece, like a small taza. Using the corner of a box, I quick formed the clay to this approximate shape and dried it a bit with a heat gun. I then took a small amount of left over slab and rolled it into a pedestal foot and attached it where the four angles met and added a pierced hole to the foot for effect. Using a rasp I defined the shape along the side angles and flattened out the ends before adding white slip that I then combed into alternating directions. All in this came in at less than fifteen and probably shows as well but rather than have to recycle the clay I figured why not make a form that I haven't made before and let's get it in a bisque and then a glaze fire to see how it comes out. I better you are thinking, why not use Oribe green, since I rarely use that surface.

MEMORIAL DAY 2024

I am reminded on this solemn Memorial Day of the most poignant quote by John F. Kennedy; "As we express our gratitude, we must never forget that the highest appreciation is not to utter the words, but to live by them.". I hope that we can live up to this expectation and honor those who have sacrificed so much so that we can enjoy our freedom and liberty so hard won and possibly even harder to maintain. 

INGENUITY

I am not sure if it was intentional or not, but there is a fair degree of whimsy and amination to this pot with perhaps just a pinch of Theodor Geisel thrown in for good measure. Cutting quite the impression the sturdy, stable base acts as a counterweight to the large, flaring mouth and casually applied ears to either side of the neck. Made by Sakauchi Ensen from Okayama prefecture, he refers to his style of work as Hisoku-Nanban-yaki or "secret color unglazed pottery" which is rather fitting for this slightly unorthodox and idiosyncratic surface and work. While the face shows off a rather verigated texture composed of dark, almost black tones it gives way to running areas of copper green around the base of the pot while also peeking out from behind the mottling of the darker surface. The rear of the pot has a more classical surface presenting a more traditional Bizen appearance with just hints of copper green wrapping around the edges and rich, glassy brown ash cascading off the shoulder. Over the years I have encountered a number of Sakauchi's work and must admit I am never 100% sure what I will see from fairly conservative hohin teapots, chawan and guinomi with formal and conservative lines to unique and animated pots like this vase where imagination and determination have coalesced to create a new ripple within the Bizen tradition thanks to the ingenuity of Sakauchi Ensen. 

"Logic will take you from A to B. Imagination will take you everywhere." Albert Einstein

BLUE TEXTURE

Illustrated is a rather simple soda blue teabowl, a bit bigger than some that is mostly about form and texture that was made as a small group several firings back. This group were made to get an idea of what the texture looked like under the soda blue and the old amber I have used on and off for quite some times. Centered, textured, expanded and thrown the texture becomes bold and obvious, nothing subtle that ends up being a rather straightfoward bowl whether it finds its way to being used for tea or chilli or anything inbetween, just hold off on the broccoli and cale.     

"No water, no life. No blue, no green." Sylvia Earle   

(Sorry for the lazy, brief post. The morning was taken up with errands and appointments and the afternoon with basic clay stuff.)

 

MADE IN HEAVEN

When you first think about it, this guinomi and the tokkuri seemingly have nothing in common other than they were made by a potter and fired in a kiln. The guinomi is by Kimura Morinobu and the tokkuri is by Oiwa Tomoyuki, they represent different generations, currents in clay, firing technique, the clay and surfaces not to mention distinct tradition but as I had these two pieces out it became rather clear how well the pair not only co-existed but presented a harmonious front. Both of these pots are of course intended for a specific purpose, the drinking of sake, both were made with function as the primary goal without turning a blind eye to the aesthetics where both are rather direct, innovative and well considered. Though this pair may not be a marriage made in heaven it is clear that they both share more than separates them and both have a hint of an exotic flare whether they originate in Bizen or Kyoto, they both share that distinct voice of clay.  

"The secret of a happy marriage remains a secret."  Henny Youngman

FIVE FOR FRIDAY

Though I am sure it is obvious, these are neither my photos nor my pots, this group of five pictures come from a retropective exhibition catalogue of the work of Bizen potter and Juyo Mukei Bunkazai, Yamamoto Toshu (1906-1994). In a recent exchange on chawan I sent these pictures to a fellow collector as "good" example of Yamamoto's work as by many critics he is considered have among the best "wheel technique" of 20th century Bizen potters. I am not sure that is exactly why I have gravitated to his pottery but I do really enjoy how he handles clay where he blends the formal with just the right amount of the casual creating direct and forceful pottery.           

In conjunction with his use of clay and the wheel, Yamamoto's pots appear imbued with purpose where each style of Bizen uses traditional archetypes to bring simple and rich new creations into existence out of nothing more than some small amount of clay, technique at the wheel and a knowledge of just exactly how to fire each and every pot that made its way into his kiln. I think this group of five chawan clearly show the skill and diversity of pots within the Bizen tradition that Yamamoto Toshu drew from from my very favorite of his chawan in the number one spot all the way to his soft, hidasuki style bowl bringing up the rear of the pack and what none of these photo show off is just how exceptional his chaire* were, but that is a post for another day.        

(* See the BIZEN YAMAMOTO TOSHU CHAIRE-TEN for an exhibition of the range of his chaire.)

INKED ON

Illustrated is a combed slipware Oribe covered jar that was fired about a month ago now. The idea was simple as I have been trying to see how my Oribe, amber and soda blue glazes work on various forms and surfaces and so far the green (Oribe) isn't that far off from glazes used traditionally for historic and modern slipware. Perhaps the biggest difference in this covered jar is that it is thrown out of stoneware, black slipped and then a band of white is applied and then combed leading to a fairly familiar look but it is the adition of the B.C./ Prometheus finial that adds the biggest curveball to the pot. One feature of using this Oribe glaze over the slip is how dark and pronounced the combing looks appearing just a bit like it was inked on standing proud against the white slip.     

Like with many things I am trying to figure out where these finial/ knobs work and where they don't and it is likely with this piece that I walked right up to the line and moving forward will be more inclined to match a more traditional knob with a more traditional looking pot. I should say the lid fits well and the finial does its job just as was intended despite calling a fair amount of attention to itself in many ways like the jar itself is a large pedestal for the decorative addition that is less static and harmonious than a everyday, regular knob. You live, you learn with each and every pot.         

"You live and learn. At any rate you live." Douglas Adams

A TALE OF TWO CITIES

I don't tend to complain very much, especially in public partially because who would listen and partially because the truth is that everyone has their share of problems and who needs mine but in some respects I am reminded of the book, A TALE OF TWO CITIES, that of the sender and that of the receiver where it "was the best of times and worst of times" all wrapped into the very same exchange. Recently well actually last year now, I sent out a package and the contents arrived damaged, it happens, it sucks but it does happen and this is the first time for me in a very long time, so long in fact I felt like a newborn taking baby-steps trying to figure out how to make a claim online, though with the acquiescence of the irate receiver sending a photo, I got the job done.     

That being said, here comes the complaining part, the customer called and was short, aggressive and demanding that I just refund his purchase price to which I told him, the package was fully insured and there is a process to getting an insurance claim going and paid out and unfortunately some of that fell within their pervue. I was insulted, yelled at and insulted a bit more first saying the package should have been double boxed and then that it was too tightly packed within the wood box. I always pack the pot inside the wood box, firmly so that given the shake test, it does not move, lids are always packed separately. The wood box was bubblewrapped and then placed in a box with ample clearance all around that was also filled with small bubble bubblewrap. 

This is my standard way of packing and the customer assured me there was no damage what so ever to the outside of the first time used, pristine box.  Though in reading this you will have to take my word for this accounting of the packing and encounter but my ultimate question is how does a well packed pot inside a wood box break from the inside out as evidenced by the photos? In the end to which can I lay the blame, the fact that it was too well packed inside the wood box which I was informed broke the piece or that fact that it wasn't double boxed which would have had no affect on protecting the pot apparently which met its demise as a result of overpacking within the wood box? I should just mention that unless dealing with a heavier, larger pot, I always assume a pot, well packed in its wood box acts as the first box and the exterior shipping box as the second? I guess reflecting on this experience I would like to know what did I do wrong, how could I have managed the packing and outcome better, what can I learn from this situation and lastly who can I hire to run my complaint department moving forward? I know my wife and Khan (the Wunderkat) have already declined the job despite the aggressive sign-on bonus and very short hours. 

Postscript; I should mention that despite getting absolutely no cooperation from the buyer I was able to plead my case to the USPS and ultimately, months later receive a full insurance claim for the package and its contents. Paypal had refunded to the buyer, I had paid the owner/ seller months earlier so I am thankful to the appeals advocate I worked with that luckly was sympathtic to my plight. 

Another all is well that ends well except for the pot that is.

DISCIPLINED RHYTHM

There is something so satisfying and captivating about a simple pot, in this case a Shino chawan. The form of the bowl is classic and simple, clearly stripped of any superfluous detail with minimal "off the wheel" manipulation or carving, a simple foot meant to bare the weight of the piece and function as a point of balance and stability. The bones of the pot have little in the way of contrivances allowing a slow, disciplined rhythm of the wheel to show in the finished product. As for the surface, created by using a bit of iron and some feldspar, the bowl is completed and brought to life from the skillful use of the essentials which include the addition of flame, the atmosphere and just the right heat and did I even mention the beautiful luster? Through the wood firing process the surface melts, take what it needs from the flame and fly ash creating a wet, fat surface that is a patchwork of red iron and off-white Shino mimicing antiquity and modernity in near perfect proportions, a simple chawan is born that just exudes nuances and subtleties.            

This chawan was created by Hori Ichiro who in my opinion has a profound sense of dazzling (!) simplicity, his pots are not fussy, over-worked or over-thought, they are direct and capture the essence of the forms he is after. In fact as I look at the body of work created by Hori Ichiro, his aesthetic is just to the point, there are no plastic gymnastics involved and my conclusion regarding his work in particular is rather uncomlicated like his work; there is nothing more complex that simplicity and this chawan is an excellent example of that idiom.

CINGITUR BOCIS

Every now and again I have the impulse to make smaller thrown covered box forms, be they fluted, faceted, stamped, slipped or in this case ringed. Part of the goal is to fit these pieces in between larger pots and filling in space that may otherwise remain empty and a lose kiln is an unhappy kiln. This particular covered box form was made by way of cheating a bit, once thrown and then basically tooled, I further tooled in the concentric circles surround the piece on the body and lid to keep them unified in surface. I call these "cingitur bocis" (ringed box) partly after an abstract I read years ago about a 17th century astronomer waiting on his proof that Saturn had rings but don't quiz me because without doing a google search most of the details are either long gone or buried so deep I may short cuircuit trying to dig out the info. At any rate the idea is simple enough and generally speaking depending on the glazing the high points of the ridges shows a bit differently than the recesses making for a nice contrast. At the end of the day I am not quite sure what you would do with such a box though it would hold a healthy ration of peanut butter M&M or your four favorite golf balls. 

DREADFUL FEELING

I am sure there are a lot of similar stories but this one happened just recently to me. The postperson rang the doorbell last week and I could see through the side window she had a very grim look and when I opened the door, I knew exactly why. As you can see the outer box looks like alien robots* were perfecting their karate chops on the box which as it turns out was only a reasonable amount bigger than the packed wood box and pot inside. The package had a label which clearly indemnified the USPS agains the damage stating; RECEIVED IN DAMAGED CONDITION with a date and initial hastily scribbled on the attachment.The post person mumbled some sentiment and left in something of a hurry but I guess I can't blame her.  I brought the package upstairs and took multiple photos of the exterior and along the way as I unpacked the piece.      

Besides the dreadful feeling that was rumbling like a mobius loop in my mind I immediately encountered the contents which by sheer luck was so well packed, maybe overpacked that I began to have hope that the contents would be intact. Layer after layer, three in total comprised of folded paper turned into contruction material and big and then finally small bubbled wrap all surrounded the wood box which after removing the materials was untouched by the out of control robots* that must have first inflicted this external damage.           

Once unencumbered, I opened the wood box and found yet more packing material done by someone who both cared and knew how to pack, the chawan was intact and none the worse for wear and I will post it at some point in the future. I guess the real meat of this tale is that no matter where a pot is coming from, across state or around the world it is impossible to foresee the travials that will plague the piece and no way of knowing just how well and cared for the packing will be. In this case all's well that ends well but with each and every piece that speeds its way here or from here, I am constantly reminded that the outcome upon receipt hangs in the balance of just how a handful of bubblewrap, some newprint, tape and a box are used to best effect with some time thrown in to kept haste from becoming the enemy of the baked and ever so slightly fragile clay.

(*Robots, yes I am a bit fixated on them having grown up watching horribly bad 50s, 60s and 70s Sci-Fi on TV and the weekend matinees.)

COUNTERBALANCED

What may be utter simplicity in form is clearly counterbalanced in the complexity of the yuteki temmoku glazed surface. Thrown out of a simple, off-white buff clay, this chawan was thrown simply and effectively on the well and other than some clean and uncomplicated tooling of the foot the bowl was left just as it came off the wheelhead. As for the surface, the potter created a simple strata pattern using two distinct styles of temmoku, the light rusty one sandwiched between the dark layers all tied together in the mutitude of oil-spot punctuations the encompass the form, inside and out. 

Though this is an older bowl by the iron specialist, Kimura Morikazu*, first of Kyoto and later from Echizen, he specialized in a broad and diverse spectrum of yuteki-temmoku glazes including some later experimentation with yohen effects creating vivid iridescent surfaces. This partiuclar yuteki temmoku was a style he used for some time and though complex in its origins and technology it is rather simple in appearance which truly works in harmony with the simple form creating an evocative and even elegant object which in this case just happens to be one of my favorite things in the world, a well made and considered chawan.  

"Harmony makes small things grow, lack of it makes great things decay."  Gaius Sallustius Crispis 

(*I should also mention if you do a search for Kimura Morikazu on the I, POTTER blog you will see several other pots in this style including another chawan and a guinomi.)

TEMPO

In a previous firing I decided to give several different glazes on combed or carved white slip over black slip a crack (bad choice of words for a potter?) and this is the soda blue example. The combing is a bit lazy allowing the decoration to change tempo as it goes around the slipped flange of the bowl which I like a bit more than a constant and even design. The bowl was thrown out of stoneware and measures just about 11" across now and allong with the other two pieces, one in amber and one in Oribe style green came out looking fine in their new colored duds. Though on the back burner I am planning to make plates, bowls, covered serving pieces and covered jars in these color schemes moving forward but as age has taught me that caution, planning and testing should proceed before just glazing up a kiln load and hoping for the best. 

"The more complicated and powerful the job, the more rudimentary the preparation for it."  Wm. F. Buckley Jr.