HAKU-ENYU TSUBO

I was asked recently if I could show a more "clinical" photo of the Iwabuchi Shigeya tsubo that I posted a week or so ago. I made a composite picture of the front and back of this shinogi style haku-enyu tsubo and hope this fits the bill. It is a very elegant piece, fitting having been created in Kyoto and the surface has a myriad of textures and colors that are best explored up close and in person but I tried to get as much as I could in the two photos. The is a nearly identical pot, form wise in the National Museum of Modern Art, Tokyo made in 1991 and the surface is a very somber white with little variation; in all honesty, I would have to say I far prefer this particular pot with the abundance of variation in the visual landscape which highlights the form and pronounced ridges quite well.

"A man is too apt to forget that in this world he cannot have everything. A choice is all that is left him."    H. Mathews (1927-2014)

GBNF

I owned this salt fired flattened flask pot a long while back, simply gone but not forgotten. I had acquired it from an Atlanta gallery that carried Michael Simon's work back in the mid-90s. I did however have a dear friend who coveted this pot and as he was always quick to remind me, I had others, in a moment of generosity, it found a new home. I had enjoyed the pot with its strong posture, wonky, off kilter neck and defining lugs, but I was especially fond of the spiral, a device/design that I am quick to use and quicker to admire. As time moved on the pot went off to yet a new home, where I do not know which got me wondering, where are all the pots that have come through my hands? Last year, I reacquired a pot from Japan that I had acquired at a flea market in Massachusetts, traded to an Indiana collector who in turn sold it on eBay, I was the under bidder. Where it went from there and how it got to Japan is a mystery but what I am sure of is that there is no way to predict the trajectory once pots leave and even less as to where they will end up. In the end we all act as temporary curators, just ask the ancient Greeks or feudal era chajin.

SPOT

I made a short slideshow showcasing a nice, salt fired Persian box by Michael Simon, student of Warren Mackenzie. Michael is a master of the thrown and altered genre and his ability to manipulate clay in a natural and simple way is almost unparalleled in modern pottery. There are a number of subtle details to discover in Simon's boxes that are easily missed if the pot is not handled and I thought a slideshow of all the details would be a better insight into his box forms that a single picture in a book. I hope this helps.

"If I have made any valuable discoveries, it is owing more to patient attention, than to any other talent."   Sir Isaac Newton (1642-1727)

BLUE MONDAY XIII

Salt fired in the last chamber of his nobori-gama this rice-bowl inspired chawan is a lovely example of the work of Shimaoka Tatsuzo (1919-2007). Taking a number of cues from his master, Hamada Shoji, this simple, yet elegant salt fired bowl has his patented Jomon-zogan technique using rich cobalt contrasted against the pale green salted surface. The generous form and crisp cut foot are complimented by the band of cobalt which seems to hold the pot together like a taut belt while the angle of the inlay yields perpetual motion. The bowl pays homage to not only the work of Hamada but the countless number of folk potters who proceeded and inspired them both.