SHOWING OFF

I am pretty sure the name Tabei Kenji is not exactly a household name in the West but for some while now I have encountered a number of his pots and to be honest each one has its own charm, each being a rather solid, functional work. Tabei’s life in pottery started while attending Waseda University before he moved on to work at the Gifu ceramics Experimentation Station (?) after which he left Japan to teach ceramics in Pakistan while studying the roots of Buddhism. Once he returned to Gifu prefecture, Yoroyama Village he founded his studio and later founded the Yoro-yaki Pottery Village and a pottery in Nago in Okinawa. His work seems centered around various Mino traditional styles as well as wood fired haikaburi techniques. 

Illustrated is an early, interesting wood fired yohen style Shino chawan that was thrown out of a sandy, buff clay with an array of color changes from a soft caramel colored surface to areas of rich red with ash effects as well as lustrous and iridescent details on the lip as well as punctuations making their way through the pours of the glaze. The intriguing surface clothes the form complete with throwing marks to a T while also hiding small areas of spatula work that break up the uniformity of the bowl. At its core, this was made as a rather practical chawan, there are no bells and whistles and the pragmatic form and well attended kodai are meant for use while through experience and firing the surface has added a rich environment to a pot that be just perfect in use or as I am constantly saying, just hanging out on a shelf and showing off just ever so slightly.

SAKE-WAN

On the whole, over the years I have not found many “raku” pieces that I have felt compelled to own if you exclude the various pieces at the Raku Museum and other similar venues. However, for some reason the raku work of Konishi Heinai II has always resonated with me, the surfaces, forms, firing and the way he finishes the kodai, all in all they just fell right to me and when it comes to this style of pottery, that is where my attention normally focuses. 

Illustrated is a simple little piece, entitled, “red sake bowl” this small pot is a spitting image of one of his larger chawan forms down to form, surface and the kodai, it isthe perfect mini-wan in this case intended for sake. The glaze is a wonderful landscape of colors, depth and texture where a universe’s totality seems painted within the overall surface just adding to the somewhat mysterious and contemplative narrative. Not to sound redundant, but I don’t usually go for raku pottery, but when I do, I choose Heinai, Konishi Heinai II.

DUSTED AND REVISITED

Okay, full disclosure, this is a bowl I have posted previously but recently rephotographed it once it was thoroughly dusted and clean. This teabowl is one of my saffron yellow over Hagi glazed bowls and I think this revisited image really shows off the character of the surface. The bowl was a small batch clay which once fired punctuates the glaze surface and adds quite a bit to the overall appearance of the piece. The real reason I have hung on to the teabowl all this time is that this is the best this glaze can be, others come very close but for some reason for a dip it in white and dip it in iron piece, the surface is just exactly what I want from this glaze and in fact there were actually three teabowls and a mizusashi in that firing that all came out at this level but I stubbornly held this on a shelf where as I mentioned it was covered in several years’ worth of dust. Now rephotographed it was placed back on the very same shelf in the very same spot where it is likely to collect several more years of dust before I pull it down again and ask, why can’t they all come out this way?

SHELFIE*

This is a quick “shelfie”* I took for the Japanese studio pottery group over on Face Book yesterday. In this picture there is a large Shigaraki tsubo by Kohyama Yasuhisa, carved wood Kannon figure, a large Warren MacKenzie stoneware charger and the small but wonderful little “feelie” by Rose Cabat. I am pretty sure most of these have been posted before but here they are in situ, a group that has been out on display for quite some time now. Though our collection is quite modest in size, we rarely have many pots out, rather, they are rotated from display to storage as it were over the year. I often think this keeps us from getting complacent with the pieces and their re-emergence is quite special though on that rare occasion a piece comes out of hibernation and fails to impress, time to go. This is our way of displaying pots which keeps the environment in constant flux, just the way we want it.  

(*Shelfie was not my idea, it came from a Face Book group on Japanese pottery)

IRON FOREST

I wonder if John Heywood included this Renaissance proverb in his anthology (1546) if he saw into the future, seeing this mounted tile ala his contemporary Nostradamus. The proverb I was referencing is “Can’t see the forest for the trees”, which may or may not apply to this large glazed landscape tile by Kimura Morinobu but is certainly easy to see where it could. Made of thick and heavy (!) stoneware, the slab is decorated using iron and ash to present both the forest and the trees in a semi-abstract manner, aptly entitled, “Mori” or Forest. Starting in the early 90s Kimura Morinobu began using this design quite a bit depicting both cat-tails and trees using a clear style ash glaze and deep, rich iron on all types of two- and three-dimensional pots where the cat-tails became a favorite on larger tsubo with a nuka style glaze. 

In the book, KIMURA MORINOBU; Sakutoh Go-Ju Nen 1951 to 2000, there is much larger forest tile decorated in a nearly exact approach as this framed one, the date is 1996 (Heisei 8) while this one is not illustrated it was exhibited at the Osaka Takashimaya Department Store sometime in the mid to late 1990s. All in all this is a rather nice presentation of another dimension of a potter who has dedicated a life to his pottery art and in this case conjures up an iron forest with nothing more than a paintbrush , a bit of clay and some toasty temperature.

EoD

Full disclosure, this was one of those end of day, what are you thinking pots, there is only one and more than likely there will only ever be one. I remember that it was later afternoon and I was trying to decide, make something spontaneously or just call it a day and this is what I ended up with, thrown out of stoneware in two parts, it was luted together after a few minutes under the watchful eye of the heat gun and then later tooled. Once bisque, I glazed it Oribe as the base and then sprayed it to give it the Kuro-Oribe treatment to this effect. I do realize to get good at this form, one off likely won’t get me there but the bigger question is, is this form something I wish to pursue?

THREE MOVES LATER

So this slipware cider jug has a short backstory that goes back over two decades, 2001 to be precise. One year we were gifted this Ray Finch Winchcombe cider jug by Dan Shutt, a very good friend and antique dealer as an anniversary gift. Dan new of my interest in Michael Cardew, Winchcombe and of course slipware so when he ran across it at Brimfield, the large flea market in Massachusetts he struck up a conversation with a dealer from England who brought a container of English antiques with him, this jug among them. After some clever negotiations, there were no other kind from Dan’s end, he acquired the jug complete with its original spout to boot. Fast forward nearly a year and on a trek up from Delaware to see us in CT he brought along the jug and gifted it to us where we have had it out and about ever since that first encounter. With Dan’s passing, every time I see the pot, just above eye level, I am reminded of Dan; his humor, tenacity, generosity and his humanity, is there any better way to enjoy a good pot?           

As for this Finch jug, the surface of this red clay had a coat of black to brown slip applied where it appears either or depending on the lighting together with a slip trailed decoration around the entire form. The whole pot is rather sturdy in its throwing with a thickly potted mouth and a strong and very functional handle also decorated with slashes of slip. This is clearly intended as a rugged and functional pot and clearly succeeded in that task though it still sits mighty pretty on a shelf, three moves later where it is looked at several times or more a day.

WHAT I LIKE ABOUT YOU II

I first salt fired quite a long while ago and have always had a soft spot for salt fired pots, in fact before I even made pots I was in love with the early salt and wood fired pottery for 19^th century America, many of which were around my in-laws home. Having a fondness for salt fired pieces, beyond the obvious Hamada pieces, I have been attracted to the simple pots based on Kyoto aesthetics of Iwabuchi Shigeya which as I have mentioned before may have been our very first internet purchase back in the very late 90s.    

Illustrated is a simple Haku-Enyu mizusashi with a thick crackle style slip over a buff stoneware now darkened to a toasty brown from the firing. On the face and back of this form, shaped like a rhombus, are flora designs, resisted in the slip application which now stand in perfect contrast to the pure white texture of the overall form though there are some areas of pink blushing and subtle gohonde style spotting. The mizusashi is finished off with a crisp, tapered lip in which a classic, custom roiro-urushi lid fits to complete the form both functionally and visually. When asked recently what I liked about the rather simple and older style piece, the truth is, just about everything.

LATE AFTERNOON

Some while back I put up a short video of one of my Oribe katakuchi in use with four Oribe mini-wan bourbon cups. Though not restricted to the use of bourbon, here are the same four cups just hanging about in the late afternoon sunlight to give a sense of the texture and surfaces of each piece. The combination of the sandy small batch clays, the gentle faceting opening up the surface of the pieces together with the multi-glazed, Kuro-Oribe style glaze makes for a rather interesting piece in the hand whether you are using it for sake, bourbon or any other litany of liquids.       

Though this Hamada Shoji quote may be apocryphal, I find it rather engaging, even playful; “Oribe is not a collection of forms, but a way of being”.

CAST A SHADOW

A while back I was rummaging throw some big, blue tuffy(s), looking for a tiny Japanese teapot and I came across this pot which immediately brought me back to Cleveland by way of Akron, Ohio. I cleared off a shelf and apparently decided to take a few photos at exactly the right time, using only natural light, this hand-built vase cast a shadow that is just a perfect companion for this Bob Yost pot. As I mentioned this vase was handbuilt in Bob’s rather unique, even quirky style where the posture and attitude become the central theme in a multipart play about vessels. The piece was glazed rather casually though I suspect by some experienced design in Dave Shaner’s red to yellow which seemed to be all the rage in the early 90s in the Ohio area though this application is near to perfection for the form. Perhaps the most engaging feature of finite details is the small lugs looking like some pre-historic appendages and adding movement and whimsy to the overall presentation. Without waxing nostalgic, I miss my decade long sojourn in Cleveland and it is these moments that give comfort and a constant reminder to the years spent there, enjoyed to the very fullest with lots of clay in all forms along the journey.

WONDERFUL MEMORIES

This is an old picture, converted from a 35mm slide to a digital image some while back, pictured are four jugs drying slowly having been made by Bill Klock sometime back in the 90s. Coming across this image reminded me this was the very last time I worked with Bill having moved to Cleveland and working at CSU and then my own studio in University Heights. I think I was in town for three weeks, one work cycle where we made lots of stoneware pots and then gas fired one group and wood fired the other. I don’t think I have a single pot left from my time there though I do have several of Bill’s. Though this was my last working trek in Plattsburgh, it was certainly not my last time visiting, every chance I would get I would make my way to Upstate NY and visit Bill, my dad and my wife’s family.  

As for the four jugs, I am not really sure of when Bill began making these forms though I suspect it was thoroughly cemented during his stay working at the Leach Pottery. These pieces have that classic English, Leach appearance complete with stamped decoration on a couple of them. I wish I had a photo or photos of these finished and though I may have somewhere I was just not able to lay my hands on any. At any rate, you can imagine them decked up in rich temmoku duds with some ash accents as well as his favorite celadon glaze, Whitings 1, 2, 3, 4 Celadon, maybe I am being nostalgic, but this brings back wonderful memories.

GROUP PHOTO

A while back I ended up throwing a couple dozen covered box forms and here is one group photo of four of them, some have been posted before. In this group all in one form of Oribe or another, the finials are all based on the Prometheus and Johnny Hart, B.C. inspired critter that I think makes for a functional and intriguing motif. All were thrown out of stoneware and despite that fact, each has its own unique surface treatment, on bare clay, over slip or slips and over the rugged fluting inspired by Maximillian armor. The fluted box has a simple tooled foot while the other three have either three or four feet which gives the pieces a bit of lift. As I mentioned, I went on a tear making a group of these forms with little thought as for decoration, glazing or purpose but since I enjoy making lidded pots, did I really need any real goal other than to throw and end up with a group of functional pieces that I suspect have as many uses as there are people who may end up using them?

IGA?

Iga, I do not think so but rather Canadian! What you are in fact looking at is a gift that came with a pot a short while back by Bruce Cochrane. This simple slab dish wood fired which securely rests on three long bar feet has a rather pleasant East meets West presentation good for just about anything from garlic shrimp to being just perfect for two large canoli. I believe Bruce choose this particular piece because he is aware of my interest in texture as well as the overall aesthetic, either way, it was appreciated and has been used a couple of times. 

This small plate also came with a thoughtful note; “….. It has a very interesting surface so I thought you may enjoy it. It is a porcelain clay with coarse silica chips. There is an ash glaze on top and it was fired on top of the bag wall in the woodkiln so there was quite a bit of flame contact. Maybe for sashimi? Enjoy!” What is not to enjoy, thoughtful gift, great surface and perfect for pastries?

SUBJECTIVE?

I realize that this is a purely subjective observational comment but really, is there anything more seductive than the surfaces of Ono Kotaro? Clearly thrown thick(ish), Ono sets about carving a rather curvy, sensuous pattern in deep relief that wraps around the form and creates a brilliant topography that is a joy for the eye and the hand. If you factor in that is perfect little form and all of its dynamic movement, a guinomi is the clone reduced in scale of a chawan, well you have the perfect little pot. Finished off in a pale blue seiji glaze, the guinomi is sealed and ready for extended use for your favorite beverage, a small portion of blueberries of just sitting there, static on shelf but with this form, let’s be honest, there is a sense of constant motion no matter where it ends up.

ONE, TWO, THREE

Back before the Holidays, I was asked to make two sets of bowls, a larger serving bowl and two smaller bowls for soup, salad, chili or what have you. By the third email it was determined they would be cog-ware in my Oribe glaze, light on the kuro effect except the interior. As with many orders, to get two sets, I made a shadow third to make sure I had two sets of three and this group was the remaining larger and smaller set. Plus, or minus, these all came out fine and I married up the surfaces to make two cohesive sets to get packed up and shipped out. This set is currently in the studio collecting dust and I wonder do they get brought up and used or just hang out until they find a new home? Maybe it will come down to whether or not I need a bowl or two next time my wife is out of town and I am a bit on the lazy side.

THE VOICE OF A POTTER

Illustrated is a classic Yohen-Shino henko by Matsuzaki Ken. Sturdy, solid and solitary this bottle has a vivid surface composed of iridescent Yohen-Shino anchored by areas of thick, pure white, swiped Shino making for a vivid landscape and vivid visual ride around the sides. As you can see there are areas of iron and ash punctuations about the surface with the shoulder and neck receiving some wonderful ash from the firing adding an additional dimension to the piece. With each application of glaze, layered to create depth and distinction, this work all carves out its own unique niche within the Mashiko traditions.    

Though Matsuzaki Ken makes a wide variety of these simple henko forms, at the end of the day they are anything but simple, the form has been carefully considered to allow the surface treatment and firing to maximize the piece, a canvas for the varying landscape of ash and glaze. Though there may be a multitude of these form in several sizes and surfaces, each presents it own unique story, narrating the voice of a potter who spent extra years with his master in an effort to break free of his weighty influence, clearly at this is task, Matsuzaki Ken has excelled.

LIVE OR MEMOREX II

I end up following a number of museums and galleries on Instagram and to be quite honest, everyday is something new, interesting and even exciting. Recently on the feed of the Shizuoka Museum of Ceramic Art, up popped a rather familiar vase, so familiar, I had to take a double-take to a shelf near my desk, a classic “live or Memorex” moment. Illustrated is a photo I took a while back together with an inset from the museum of a Nagasaki sancai hanaire by Yokoishi Kasuke XIII. While it was always quite clear these pieces were molded, hand finished and then meticulously glazed, it was still a somewhat surreal experience. I should note that I think everyone in this same predicament may say, hey, mine is better, but apart from the actual object itself, I will say, to my eye, the one here in the US has a much better glaze application with wonderful running gradation of colors and placement.   

On a side note, for anyone considering acquiring a similar piece or a piece by Yokoishi Kasuke XIII in general, these pots are sturdy, solid, weighty and by no means some half-hearted attempt at mass production. Though the wood signed box is a bit on the economical side, the vase and glazing is honestly top notch and if you like sancai or Nagasaki sancai in particular that this is likely the pottery and potter for you.

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.