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.