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.