ASKEW

Cloaked in various hues of hi-iro and ash with strong tsuchi-aji, this Shigaraki bottle-vase is by veteran potter, Otani Shiro. At first glance it appears a nice pot but on closer inspection it is easy to see that this is a pot that takes those 10,000 hours to create. The attention to the posture of the pot, the finish of the foot, defining its termination, the casual lean of the neck and mouth slightly askew all add up to make for a rather interesting piece. The flashed surface adds to the vertical nobility of the bottle and a subtle set of lines running around the shoulder are all of the intentional decoration that is needed. There is a profound sense of appropriateness that many wood fired pots possess as the potter gain mastery over just what to add without throwing the entire piece into visual chaos.

FIRST QUARTER

Illustrated is a large Shigaraki tsubo by veteran potter, Otani Shiro. Fired to create soft textures of tsuchi-aji and hi-iro, the tsubo has a soft, noble and contemplative nature to it as it sits at home in his studio. The transitional band between the blond clay texture and the reddish orange hi-iro shows delicate and wispy bands of varying colors before each yield to the dominate tones on either side of the tsubo.  Reminding me of the first quarter moon, this tsubo is one of those perfect pots that fits into a sense of pathos and poetic lyricism that is one of the essential elements of Japanese art. There is no pot so cherished as a simple pot that is filled with tension, emotion and dialogue and it is Otani Shiro's experience that creates such fine tuned simplicity.

"Experience, which destroys innocence, also leads one back to it." James Baldwin (1924-1987)

A CLASSIC

Illustrated is a simple classical form with a wonderfully rich Shigaraki surface with numerous white ishihaze specks showing through the cascading ash on the front of the pot. This large tsubo was made by internationally recognized Shigaraki potter, Otani Shiro (b. 1936). His work is well known in the West, partially through his friendship with Rob Barnard, wood fire potter and writer. A nice article by Barnard, on Otani Shiro can be seen here;

http://www.artistpotters.com/artist_potters/otani/articles/so_article.html

NEW CYCLE; PART TWO

I have managed to throw what I need for my next kiln firing. Everything is thrown, trimmed and slipped if needed. Even though I know there is enough to fill the kiln, since I am already planning out my next firing, to include larger pitchers, I am compelled to keep throwing. Once I get in the groove and things are going well, I just want to throw.

Way back, just out of CSU and in my first studio, I had a partner. This made things exactly as I wanted. Besides making my own pottery, I throw a variety of forms for her to paint on. That was heaven; I could make more pots than I could deal with and throw all day long. This didn’t last but a couple of years, but it was in some sense, an excellent arrangement. The conclusion, I really rather be throwing and a partnership was just not for me.

This current cycle, I have thrown a group of wall bowls, carved porcelain bowls, some bottle forms, a group of larger cap jars, soup bowls and various teabowls. There is about 20% too much for the firing, but, as usual, I just couldn’t stop. All but the teabowls and soup bowls were the reason behind the firing, so those pieces may have to wait. I will try to squeeze them into the firing, but I think it is already planned pretty tight and the pots are all still wet. Oh well, there is always the next firing.


(The chawn illustrated is a Shigaraki bowl by Otani Shiro. It has nothing to do with my post, but it is Friday and I love that green……….)