SIMPLE, SQUARED

Illustrated is another one of those simple, squared yunomi that I really enjoy making here at the studio. I am not sure if I settled on yunomi over mugs because of my admiration and time in Japan or is it I just don’t like the fussing around with timing and handles, maybe a question for another time. This one was thrown out of stoneware and softly squared up to allow for a less severe look and then covered over in impasto applied slip before its final meeting with Oribe and iron. The diagonal application makes for some rather interesting effects as the glaze runs and channels down the furrows making each and every one just a bit different and each plane its own unique landscape which come together in an overarching theme. It may be simple in design and execution but the texture and surface hopefully push it to another place entirely.

IN ALL PROBABILITY

I can’t say that I have handled many pots by Mino potter, Kato Yoji but I can say it is often funny how things come in threes. This wood fired pot is the third Kato Koji I had encountered and is everything I like in guinomi with a fierce posture and form, flowing and active surface and looking every bit the chawan despite it actual scale. Having been fired on three small shells, the scars from the firing punctuate one side while also giving the piece a tremendously tactile adventure to the fingertips. The face of the guinomi is defined by soft throwing marks, drifting rivulets of green ash against a dark brown surface that as it wraps around the pot it shows off iridescence that flows into the interior as a most welcome surprise in the handling. If I am being totally honest, part of me wishes this was a chawan every time I see it but, in all probability, alter any one feature of this diminutive gem it is more than likely you strip it of what makes it so appealing, best leave things just as they are.

FOUR SEASONS

Illustrated is a Kutani style porcelain vase that we refer to as “the Vivaldi vase” due to its rich decoration showcasing flowers unique to the four seasons along with bold calligraphy in gold in a cartouche adjacent to each respective panel. Made of a pure white porcelain, this vase was then glazed and fired and later covered over in a rich surface of red enamel before gold, purple and blue were applied. The gold was detailed by way of sgraffito that brings that surface to life and adds more depth to the surface. This rather ornate vase is just a perfect blend of old-style Kutani technique and workmanship while showcasing the efforts and innovations of a century’s long tradition. 

This vase was made by Kitade Seiko (b.1926),born in Kaga Prefecture and student and son of Kitade Tojiro, launching his career in earnest when he was selected for the 6th Nitten Exhibition in 1950. Like his father, Seiko adds naturalistic, Kutani inspired devices, designs and decoration to his work which is meticulously crafted and painted where sometimes simplicity rules and others where the surface is densely decorated with complex and well thought out patterning. Working in stark decoration over white porcelain, using cobalt or red pigment as a canvas or the combination of the prior, this octagonal gourd style vase is a wonderful example of his work which is true to the style of his father, Kaga and Kutani while leaving room for his own unique interpretation of all three.

LOCAL INSPIRATION

What appears to be just another teabowl is in fact, a small serving bowl so it is true, appearances can be deceiving. This single hexagonal bowl was actually from a group of four that were ordered a while back but being me, I ended up making six to make sure I ended up with the number required. Thrown out of a white stoneware, each bowl was made roughly hexagonal and they had strips applied and flame blossoms, well that’s what I call them, inlaid as alternating decoration. Once bisque and reasonably sure they had made it, they were glazed in the soda blue glaze I have been using and there it is. I will mention that one feature that I like is where the blossom was inlaid, the glaze helps create this droozy effect where the black runs a bit, creating a softer line than when it was first done.       

I should say, to some, very small degree, I have used the work of Victor Schreckengost as inspiration, a designer and ceramic artist from Cleveland (Heights) who I actually had met back in the very early 1990’s. Though maybe you have to put on your imagination caps, much of the black underglaze decoration comes from seeing Schreckengost’s marvelous Jazz bowls showing off his carved and fluid designs under a Persian style blue glaze, how can you not be inspired by such brilliance that was lingering right in your own backyard?

 

FLOATING CLOUDS

At its core, this is a rather simple vase, elegant in its presentation with hints of Chinese porcelain thrown in for good measure. This hanaire has all the characteristics of the evolved tradition where over the centuries Takatori ware became more elegant and cultivated in form and surface to both meet the prevailing tastes and to create a ceramic canvas for a specific ideal. The crisp lines and subtle details act as a vessel that in some ways in this instance is a pedestal for the exotic fish lugs that have become a calling card among the modern, posts 19th century Takatori Miraku potters right down to the current head of the family, Miraku Kamei (Masahisa) XV. Springing from a century’s old tradition, dating back to almost 1600, modern area potters relied on older Takatori ware ideals/ archetypes to appeal to the somewhat conservative nature of the establishment chajin and under Kamei XIII the Takatori teawares moved from being a regional pottery to having far greater national exposure. At its core, Miraku Kamei XIII (1883-1956) made his pottery specifically oriented toward those who practiced (chajin) and collected articles (chadogu) for the tea ceremony (chanoyu) and over time he gained the reputation as a nearly peerless maker of chaire.               

As you can see in this vase made by Miraku Kamei XIII there is a streamlined elegance to the form, the superfluous details are cast away relying on the purity of line/form and enticing and intriguing surfaces. By combining oyu (straw yellows) and rokushoyu (green-blue) glazes, Miraku has brought movement and life to a rather simple and stylized form acting almost like floating clouds on a static form pointing to the highly detailed and articulated fish lugs and broad distinct mouth and lip of the pot. As I stated, this is a simple form with intriguing and curious details that are highlighted by a complex surface of movement and subtle painterly qualities that are as timeless as the Takatori tradition now in its 15th generation and moving toward another century of dedication to an ideal and devotion to purpose and ceremony.

ACCOMODATING

A short while back someone messaged me and ask if I could post an overall picture of the Kumano chawan from a post several years back. It took a while to find the photos which were taken some while back and narrowly missed being either deleted or corrupted in a major PC melt-down but I do my best to be accommodating when possible. What I can tell you is this bowl was quite memorable, quite large and the face gives way to vivid Yohen-Shino with an almost chaotic field of texture and color. Though this is an old photo, likely taken with my old Mavica and saved on floppy discs originally so it is not the best quality to show off this rather nice Kumano chawan but it will just have to do.  

The original post can be seen here; 

https://albedo3studio.blogspot.com/2021/07/crucible.html  

WHAT IS THE PLURAL OF FLUTE?

                                 
                                   

            

This was clearly an end of day pot, not thought out and just thrown using some clay already wedged up. Obviously, it was slightly thought out as it was thrown thick enough to flute vertically and horizontally which interrupts the flow of the movement of the surface. There is a simple lid surrounded by concentric bands to add so movement and interest to that as well and completed with a slab impressed handle based on a Cubist apple stem. The idea to this spur of the moment pot is pretty simple and since a fluted surface looks good, I went with my Oribe and accents of iron which have created cascades of color running down the furrows. By the way, what is the plural of flute in this context, is it as simple as flutes?

NONE THE LESS

Though not made in Shigaraki, this simple, lobed mizusashi is Shigaraki none the less. Having studied with Tsuji Seimei, Kon Chiharu made this classic vessel for tea ceremony which was then fired in an anagama to create a classic, even traditional style of pottery that is synonymous with Shigaraki. The form of this mizusashi is somewhat simple and entirely functional where impressions were made while the clay was still wet and a practical lid was thrown completed with knob so that it would sit just atop the pot, closing the opening and at some level hiding the contents from view. When fired, this pot was fired upright, the lid was wadded to the piece and the form was fired on wads as well, the large botan-mochi style area on the face of the pot was created by some pot acting as a defensive linebacker keeping some of the flow and velocity of the fire and ash from reaching its intended target. The majority of the surface is covered over, excepting the one resisted area on the front and a small area on the rear, in a coat of wet ash presenting a sense of being freshly washed, a feature that I am always drawn to. Everything about this pot speaks to centuries of a medieval tradition even if it was made and fired a few miles away, clearly Shigaraki to the very bones of the pot.

WHO?

Illustrated is a detail from a large covered box form by Ito Hokuto (b. 1961) a student of Ningen Kokuho, Fujimoto Yoshimichi. Using porcelain as a canvas, the form is first glazed and fired and then the magic of varying overglaze colors, techniques and textures take place in this case creating this evocative owl design, one of three perched upon a lone branch and high-lighted in silver overglaze with sgraffito detailing. The planning and execution of Ito’s work is rather inspired a blend of the chaos and formality using quirky designs to tell stories and articulate the surface and form. More to follow. (Short post, lost all track of time today!)

ANGLES AND CURVES

Illustrated is a seriously well thought out and conceived covered box form by Canadian potter, Bruce Cochrane. Though moderate in scale, its impact is larger than it proportions where intersecting angles and curves create a form that moves along with the eye as it is traversed. In some aspects this covered form reminds me of the Cubist paintings of George Braque manifest in three dimensions where the use of Shino glaze and the process of wood firing have created a landscape that highlights every plane and surface to maximum effect. As I study the piece and especially the form, there is movement in the lines and I am clearly reminded just how complex simplicity can be. 

 

WEE BIT-O-GREEN

So here is a wee bit-o-green for Saint Patrick’s Day or should I say a pot full of green? This bowl was thrown out of a rather sandy stoneware clay and then while still rather wet, quickly and unevenly faceted to show off the texture hiding under the surface of the clay. The foot was tooled on the wheel but still has a rough, natural appearance because of all the tearing from the sand and once bisque it was glazed over in my Oribe combo producing what I tend to refer to as Kuro-Oribe due to the dark, droozy blackish surface. The combination of the sand punctuating the surface along with the running tendrils of color and the deep collected pools of green make for an interesting landscape that may or may not remind one of Ireland but since it isn’t easy being green, this is about as close as I could get.

OSC REVISITED

A while back I suffered a rather catastrophic computer crash and have been working daily rescuing data from the old computer and recently came across this older slideshow video. I realize I posted a static photo of this Oni-Shino chawan by Hayashi Shotaro previously but thought the group of photos helps fill in the blanks, adds detail and perhaps builds the sense of volume of the piece that a single picture certainly would not. Enjoy!

NEXT CYCLE?

Well at least this one isn’t green (Oribe) though it is from some time ago and I am pretty sure I have used this bowl before though now rephotographed. I was going through my broad feet stage and this one was a handful, large bowl shape with a large, tapering foot. The body of the bowl isn’t too thick but the foot adds real weight to the form, something a collector I know would immediately find disqualifying. Though this bowl owes some of its inspiration to Kawai Kanjiro, the shape of the bowl itself was based on an old Japanese lacquer piece I had seen. 

The teabowl is glazed over in my temmoku glaze and then was dipped in an iron red that was quickly combed with my fingers before the surface could dry. The effect is a bit obvious where dark tendrils of color mingle with the droozy, running iron which always reminds me a bit of the partridge feather technique. One other feature worth mentioning is that the bowl is punctuated in small, reflective iron crystals that just cover the surface of the glaze, a nice little bonus to the overall runny effect. Every time I come across this picture, it reminds me I need to make a few more of these pots instead of treating them like they are in the rear-view mirror. Maybe next cycle?

JUST ANOTHER VASE

 

Illustrated is a tall, conservative E-Shino hanaire by Hori Ichiro. Thrown out of a buff, mogusa (?) clay, the casual form shows off its pronounced throwing marks and is sub-divided by a rough and perfectly placed should that defines the body and neck of the pot. The face of the pot was spontaneously decorated with a grasses design which it is clear that Hori has completed countless times before, all leading up to the rather serendipitous glazing where the interplay from thicker to thin and the running Shino all enhance and quite frankly create the rather feudal appearing landscape.      

Though just another vase at some level, the final appearance makes for a rich surface where the underglaze iron, the purity of the white glaze and the various other cast of characters work in perfect harmony to make for a Shino vase that to my eye is quite unique or perhaps idiosyncratic to Hori Ichiro. In thinking about the general field of the modern Shino tradition, there are a number of potters who have developed rather unique looks from Kato Kozo to Suzuki Goro with Hori fitting into that group how have decided to use the past and their inner voice to unlock the potential of a specific orthodoxy allowing it to be present and help move it along, one pot and firing at a time. To this task and within the categories of Ki-Seto, Seto-Guro and Shino, I think few are as up to the challenge as is Hori Ichiro.

FIVE FOR FRIDAY; FURUTANI MICHIO

Besides his expressive smile, when I think about or talk with other collectors about Furutani Michio what normally springs to mind are his slab henko of varying sizes and surfaces that are all as expressive as the maker himself. My understanding and correct me if i am wrong is that Furutani Michio did not solely come up with the idea and form of these henko but there are extant examples made in the Valley and of course made by other potters subsequently but none embody the spirit, tradition and traditional firing as he was able to infuse into the local clay. Though there seems to be a most frequently created size, the standard henko if you will, the forms all vary in proportions and yes even the scale from rather small to quite large and imposing in their presence. Though there is a constant commonality to this body of work what really sets these pieces apart giving voice to each unique creation is the varied firing effects and styles that end up painting each one and presenting its completed narrative and these range from almost quite fire color, hi-iro pieces with just a dusting of ash here and there which many time surround resisted, almost botan-mochi style resists to full blown heavy ash and charcaol covering the surface like a testament to the ferocity of the fire and the will to survive. 

Each of these henko are unique and expressive tied together by a creative idea and force that exploded from the mind and dedication of a potter, Furutani Michio who will forever be remembered as part of the very tradition he championed without how, the Shigaraki Valley would have been a much different place.   This group of Shigaraki henko were all made at varying times by Shigaraki/ Iga potter, Furutani Michio mostly ranging from the mid-1980s up until 1999, as you can tell these are not my photos but come from a number of exhibition catalogues on the potter.   

My intent in choosing these particular pieces was to showcase the diversity and commonality of this body of work and admittedly I choose pieces that I have the strongest affinity for and I make no apologies for my bias. I should also mention though I have seen and handled nearly two dozen of this henko form and photographed most of them, however I choose to use examples that Furutani Michio choose for his exhibitions acting as de facto, undisputed ideals of this form from the potter's perspective.    

Though most likely highly subjective, this group starts out with the henko that most appeals to me, it is filled with power and conversation and the proportions are ideal and the wood fired landscape portrays a soft, semi-abstract landscape as the coloration changes from the running ash to charcoal bed effects. The additional four pieces were culled from dozens of possibilities, pieces I thought gave an insight into Furutani's henko forms, pieces that showed off surfaces and proportions and yes, to be honest pieces that I like and make my Friday even more enjoyable.

COG-WARE

In some ways these small covered “COG” boxes were designed as filler but since they are bigger than teabowl generally speaking, I think I make them because I like making lidded pieces. This stoneware COG box, part of a limited group referred to as cog-ware was thrown out of stoneware and had white slip applied and then a fresh coat of soda blue to finish it off. All in all this is a rather simple idea and form but I think when you add in the carved furrows the glaze brings the piece to a more intriguing pot and after all, it is a daily reminder of how we are all just cogs in this giant cosmic machine we call life.

 

CUSTOM-TAILORED

A bit on the larger size, this yohen-temmoku guinomi is a wonderful contrast between the deep, rich dark interior and the iridescent, rainbow effect border that forms the lip. Made by Sasaki Yuzuru I am constantly amazed at the depth and variety of the surfaces he produces from iron rich temmoku to exotic Ki-Seto tied together in forms used across his diverse surfaces. This broad, low guinomi has had the most perfect custom-tailored suit made to encase the buff, softish clay body with a wonderful foot which without context could easily be mistaken for a larger chawan, just my type of piece. 

Though this piece is quite attractive in natural light and incandescent lighting, it clearly comes out of its shell and leaves all inhibitions behind when highlighted by the afternoon sun. Like with a number of potters that are on my short list, I am always looking forward to seeing my next Sasaki piece be it temmoku or Ki-Seto.

TWO-VUE

Illustrated is a rather robust and dynamic haiyu mizusashi with a mesmerizing array of color formed by flowing ash engulfing the form and creating a rather unforgettable impression. Created by Kato Toyohisa there are elements of the old traditional archetypes but this has a distinctly modern approach with areas of quick incised marks and planes across the surface capped off with a deep gallery and complimentary lid. Rooted in function, this water jar gives off a sculptural vibe though it is neither sculpture nor classically functional but rather somewhere in between where tradition and creativity meet. Though the base of the ashy surface is straw yellow, the are rivers of greens, blues, greys and orange mingled throughout the landscape that give way to rich, deep iron where the glaze has not covered or parted ways with which give the pot a sense of movement. At first glance this is a rather strong and present piece, it is not a quiet pot but rather seems a bit celebratory adding to the ritual of chanoyu or livening up a shelf in whatever environment it is placed. 

For comparison's sake, I am showing this mizusashi using two distinct light sources, a two-vue.

 

TWELVE PLANES

Illustrated is a yunomi teacup that a collector and friend sent to me recently as a gift. Knowing my interest in the work of jeff Oestriech he thought it would find a good home here though he is insistent that I use it for any possible beverage (or M&Ms in a pinch). I was hesitant to use it and almost got there on the first night of its arrival but it went unused until a couple of days later when I went all in and poured a small portion of bourbon into the cup, I was all in now and I finally broke it in. I am not sure if the honey bourbon tasted any better in this cup but the experience was a bit better using a hand made pot and a gift at that.      

As mentioned, this was made by Jeff Oestriech some long while back and though the surface clearly shows some influence in the MacKenzie monotone, the pot is clearly something new. Gently squared, each side has three casual faceted cuts creating a total of twelve planes which though no longer round make for a comfortable grip and lots of lip to imbibe from. Though the exterior profile of the foot remains round, the cuts create a distinctly complimentary addition as a four-footed pedestal that match up quite well with the soft geometry of the yunomi overall. Though I was reticent to use this yunomi, I am glad I have broken it in as nothing beats using a friendly pot, gifted from a friend and made by a potter who thinks a bit outside the box but keeps a watchful eye on function just as it should be.

FAR-OFF

This is number 3 of three pieces that I had sent to the teabowl exhibition in Philly. I opted for this somewhat conservative, stacked stone Oribe teabowl over swirled slip and some Kuro-Oribe accents. I think I choose poorly apparently as it is still available though I thought it a fairly strong piece, oh well, I guess it can always be used for chowder, chili, cashews or carambola. Thrown out of stoneware, tooled and given a thin layer of swirled slip, this bowl is simply put, based on two smooth stones stacked on top of each other like the base of some far-off cairn dotting the landscape of your mind. This teabowl is a nice handful and honestly is as simple a bowl as I could make which I was thinking was exactly the point.

TO WHAT END

In the past handful of cycles around the sun, I have noticed that there seems to be individuals who aren’t willing to stand on their own accolades. In case that was vague, what I am referring to is potters who posts old photos of some other potter’s work and then try to take credit for it. I guess my biggest question is why would you do this? Is this just me being naïve, what is the end goal, to what end or purpose especially in this digital age when many can easily see and spot the deception. At the end of the day, at least in my eyes, those who undertake such nonsensical subterfuge only sow distrust and malign their own credibility in the long run and honestly it is a bit sad. I may not be able to conclusively prove the deception, but every potter handles clay in their own unique way and when the extant works of the troll clearly differs from the work, they are taking credit for, in my mind, the charade is over.    

Illustrated is a pot I made a while back, oh wait, no I didn’t, this is, in fact a large Iga vase form by Kojima Kenji. This tall iron and ash glazed vase shows areas of tataki paddling and though it doesn’t say so on the box, the surface makes me think of his Tetsu-gama, iron fired pieces. The form was casually thrown and is finished off with a perfect, wonky mouth and lip that compliments the pot to perfection. For anyone following Kojima Kenji’s work, it is clear how he handles clay, it is particular and easily recognized, carrying on from form to form, and among varying sizes and styles across most of his time in clay. The clay is imbued with confidence, purpose and determination where his knowledge of Ko-Iga acts as a springboard to create rather distinct, modern pots in a tradition that is constantly moving forward and dare I say, entirely his own.

2 + 2 = A GROUP

Illustrated is a group of four spirit or bourbon cups I made a while back and shipped West. They were thrown out of a sandy small batch white stoneware and roughly faceted before two were amber glazed and the other two were given the Oribe treatment. All four were thrown off the hump and perhaps my favorite feature beyond the lift off the taller feet is the areas where the amber or Oribe glazes have collected creating deep, dark pools, a perfect accent for the forms. This picture was a rather quick, impromptu photo of the “gang of four” and will have to act as the only record of these pieces which actually started as nine and was whittled down to four by the customer acquiring them for a friend cross country.

HJW 1953-2025

I learned recently of the passing of a fine collector and friend, Dr. Howard J. Waldman of San Diego. Howard was beyond generous and gracious and had collected most of his life from bonsai to glass paperweights and objects to modern Japanese pottery. He collected pottery up until a few years back where he donated a portion of his collection to the Nelson-Atkins Museum of Art, parted ways with some pieces and kept a few select pieces to enrich his new environment in San Diego. We bonded over pottery when he discovered Japanese modern pottery through my blog and shared a real love of the work of Tsukigata Nahiko though he was interested in mainly Ningen Kokuho. Howard had a dry and insightful sense of humor and wit and I can only remember disagreeing with him on one single event regarding a Bizen vase. He was always willing to share and was a wonderful springboard regarding collecting and was also willing to share his keen medical insights on more than one occasion. I mentioned Howard’s generosity and interest in Tsukigata, he was the first collector that I knew personally that had a rather nice Oni-Shino chawan and sensing my envy, one day it just showed up here as a gift to my wife and I as our anniversary present. I am sure there is a lot more that I could write about Howard but what I can say is that his presence was a gift and his passing will leave a void that his memory can only marginally fill, he will be missed.         

This photo was taken in Kansas City before Howard relocated to San Diego, the top shelf shows a small portion of his collection. From top left to right; Shimizu Uichi, Miwa Kyusetsu XI, three Shimizu Uichi, Tsukigata Nahiko Oni-Shino mizusashi and a very early Oni-Shino hanaire which was illustrated in the book, ONI-SHINO.

THREE-PART

I am sure if you happen to read any of my blog-posts, it seems like an overused description but when I first saw this pot, timeless just echoed through my mind at literally the speed of sound. This very well fired Shigaraki hanaire is by Furutani Michio and is clearly inspired by the Chinese cong form crafted in jade and ceramics that dates all the way back to the Shang Dynasty. Totemic in its form and aspiration, this bottle was hand-built for a coarse clay with alternating impressions decorating the surface and breaking up the long planes of each side as well as catching ash for a rather appealing effect. The ash runs a wide array of colors surrounding the vase from greens, greys, light blues and even rich emerald greens making for a rather abstract landscape painted across a rich ceramic canvas. Though clearly based on a form that goes back perhaps 3000 years, Furutani Michio has blended the old with his inner voice of what is possible where vision, influences and tradition come together like a great three-part harmony.

ELEMENTS

I really enjoy making covered pots, especially easy to use, not too large, not to small pieces of which I think this pot is a classic example of. This is from a series exploring a form that blends my old “whirling dervish” pots with an exaggerated bamboo node association. The thick combed slip has the look of sudare, bamboo blinds while at the same time could be seen as a dense bamboo grove swaying in the wind finished off in my Kuro-Oribe surface from top to bottom.    

Beyond the form, this pot is about the movement of the glaze partially created by the thick combed slip, moving diagonally while creating dark pools of green to black on the highpoints and transition lines which is clearly highlighted by the sun in the second picture. There is nothing earth-shattering about this form, the scale or even the surface but I would like to think when you assemble all the elements it is certainly a bit better than any single detail and as a potter, I think that is the best I can ask for.

 

Kyoto Shino

I guess when you think about it, Shino and Kyoto don’t necessarily spring into mind at the same time but so many styles and traditions are being undertaken vast distances from their origins, it is just the way things are. This shimmery Yohen Shino guinomi was made in Kyoto by Nakamura Kotaro and has a rather pleasant form that is reminiscent of larger chawan with a perfectly proportioned foot that has a slight hexagonal flair to it. The guinomi has areas of thick Shino applied over a thinner base of glaze while much of the interior and exterior are blanketed in an iridescent sheen which is unmistakable even in dim, low light. I should also mention the lip is highlighted by a wonderful blue-grey collar that is also tinged with areas of dark, deep black for another eye-catching detail on this small little gem. This was my first actual encounter with Nakamura Kotaro’s work and certainly makes me look forward to seeing more, a nice big chawan would be most welcome.

 

SOLO

I posted this photo up covered in some Xmas trapping back for Christmas and thought to present it in a more uncluttered fashion. This intricately glazed Shino oval baker form is adorned with a solo fish motif and just enough other glaze accents to bring the piece and its imagery to life. Made by Bruce Gholson, sometime in the 1990s, this was a last-minute Christmas gift that we purchased for each other as finding pots in this style seems to be a bit less easy than expected. At over 21” long this makes for a wonderful using piece as well as just looking darn good just sitting around and collecting dust. As I mentioned previously, I was first exposed to Bruce’s work way back at the American craft Gallery in Cleveland, Ohio and we have moved his pieces from location to location over the years and though I am not relishing any more moves, I could be perfectly fine with finding another Gholson pot or two.

CHIPPED SURFACE

Illustrated is a stoneware teabowl that has a random, almost chipped surface, a type of faceting that has been around for quite some time. This bowl was glazed in my Kuro-Oribe style surface but for some reason has a lot of rather runny, droozy effects cascading down the bowl and collecting on the ridges creating a rather pleasant deep black to dark blue appearance adding a bit more to the landscape of the bowl. Though this was not intentional, it happens now and again when I get a bit aggressive in the final glaze applications.  This teabowl and a few others were recently added to my Trocadero marketplace if you want to see a few more pictures;

https://www.trocadero.com/stores/albedo3studio/catalog/

FORM CONSCIOUS

I have to say, this is a form that you don’t encounter that often by the versatile and very form conscious mind and hands of Kawai Takeichi. As is pretty clean, this is a molded henko form and since I am not really so good at making molds, I suspect this is a four-part mold, correct me if I am wrong. The angles, planes, dividing boundaries and mouth all work in perfect harmony with the form if just a bit busier than I am used to seeing from the potter. Using all the lines of the piece, Kawai Takeichi skillfully applied shinsha, gosu and tetsu-yu glazes to create this patchwork assemblage across a tall and commanding monolith that is clearly rooted in some architectural elements or another. The glazing and firing carefully present a semi-crisp landscape where the edges and meeting junctures blend ever so little in a soft and appealing manner. As I said, I don’t usually see such complex forms among the Kawai school potters but this one is clearly a welcome addition to Takeichi’s body of work and the tradition in general.

TEABOWL EXHIBITION

Just wanted to call attention to the third Philadelphia International Teabowl Exhibition curated by mark Tyson, this starts on 2/1 and can be seen in person in Wallingford, PA or on the internet at; https://communityartscenter.org/. As mentioned, this is the third such exhibition and includes pieces from around the world, over 400 pieces will be on display. This is absolutely worth checking out!    

I wanted to mention that I was lucky enough to be included in this exhibition, showing three Oribe style teabowls, two thrown and alter with cut feet and the third a more conservative thrown stacked stones style piece. Illustrated is one of the T&A bowls, thrown out of a small batch clay with sand, the form was slightly manipulated and then softly faceted exposing more texture before the base and foot were addressed using a small piece of wood to cut away the unwanted clay. The feet are on the smaller side as I really enjoy this look and precarious feeling, where the pieces were fired on pins, the marks were then covered over in small dots of gold lacquer epoxy.     

This is a new style of bowl for me, well new for 2024 and has sprung out of more conservative attempts at making such pieces and hopefully have a slightly more casual and free spirit. The Oribe glazed used, which I refer to as Kuro-Oribe has quite a few tones of Oribe green through-out the form and also shows off a degree of blue-grey drooze as gravity certainly played its part in the making. In point of fact, it is gravity that has driven me to firing these on pins as a teabowl lugging around a heavy shelf is surely less functional than I intended. If you go to the exhibition, please be sure to give these bowls a once over.

 

RAQQA-DUO

Though not an exact match, these two Toruko-ao guinomi, currently referred to as the Raqqa-duo are close enough in form, surface and design. Collected separately over perhaps a half a year, these guinomi are both nearly the exact weight, size and though the decoration is a bit different, the glaze is spot on enough for them to be a pair. Though I constantly refer to myself as an “accidental collector” of guinomi, I truly enjoy Kato Kenji’s work and once I ended up with the first one it seemed a bit of a shame to pass on the second. Now that I have the two, I guess the next plausible step is to search around and find a tokkuri that matches and if along the way, numbers three, four and five show up, then kismet has interfered once again in my collecting.

RUSTY STEEL

This modest wood fired pot looks every bit the aftermath of some volcanic eruption or fiery geological event. The mountainous form, with uneven and craggy mouth perched atop the piece trails areas of running ash, fire scorched effects and some areas of fused and flashed charcoal coat the surface and completing a rathe elemental and primal form and surface. The form has a rather engaging sense of proportion and line, both mimicking some distant peak in the Japanese Alps while giving off a sense of some modern constructed sculpture made of welded plates of rusty steel.  Perhaps one of the most captivating features is how the base is raised where the wings of the form spread out creating a wonderful shadow line and a feeling of upward motion.  

This Iga-yaki henko form was made by Kojima Kenji several decades ago but shows his innovative sense of form, where little is out of bounds even when it strays from the traditional concepts of the region. In this case, the sharp lines, vivid surface and rich and intense firing have conspired with the potter to create something new within the Iga tradition and as with any tradition, a nudge now and again to move it into the future is quite frankly, never a bad thing.

SURFACE

This is another one of those pieces that is all about the surface. The simple form is the perfect bones for the use of the kohiki, crackle slip over which a thin layer of haiyu ash glaze is used to seal the surface and present a complete canvas. The landscape on this haiyu kohiki chawan by Kako Katsumi is emulated some distant and exotic place where texture reigns supreme and engulfs the rounded, functional form and there is even more to see in the interior.    

Kako Katsumi born in Kyoto and working in Tamba has blended the aesthetics of both locations to create a rather diverse and rich palette of forms, textures, glazes and ideas. Though seemingly simple in its constituent parts, this bowl is a wonderful, lyrical assemblage of clay, form, surface and fire which Kako has worked toward a mastery of where he is able to move back and forth between a diverse vocabulary of ideas and avenues. This chawan beyond being a tactile handful is just one example of what decades of testing, firing and experiments will get you where Kako Katsumi has certainly proved his mettle.

SCOT-FREE

This was a quick, impromptu picture on the slab roller, just before getting this teabowl packed and shipped out the door a couple months back. The stoneware clay had sand and some grog wedged into it prior to being thrown and then it was rather hastily faceted just after it was thrown. The surface ended up with a lot of texture and then once bisque I used my saffron yellow glaze over the amber, adding a thick coat. The results show a fair degree of movement with lots of the original clay texture showing throw for a rather rustic and modest appearance. Given the amount of glaze and my mortal enemy, gravity, I was fortunate this walked away scot-free despite the aggressive glazing as all has ended well despite such a turbulent beginning and reckless glazing.

IN THE DETAILS

This clearly isn’t the best detail photo but for those who have never seen the iron surfaces of Tsukigata Nahiko I think this gives a hint of what is there. This detail is from an Oni-Shino chawan and shows the lively streaking that gravity has lent a hand in where there are areas of iridescence which is like silk cloth reflecting in the sunlight as it moves about in a breeze. I am not trying to be overly poetic or flowery in the description but these surfaces boil down to what is in the details, like building blocks they build the aesthetic wrapped around the skillfully crafted bones. At least from my viewpoint, it is an inescapable fact, each Tsukigata landscape presents a myriad of these details and paints imagery that is quite easy to get lost in and all that on just some little bowl.