SPACE, THE FINAL FRONTIER

As any potter can attest, studio space is always being pushed to the limits of its capacity. My studio is a slightly large, 2-car garage, built under the house with an adjoining area which has a furnace/air conditioning unit and hot water heater and a small room, about 8' X 6' used as my glaze making nerve center. The open studio houses two banks of shelves, wall mounted shelving, two kilns, a slab roller, kiln shelves/posts, wedging table, clay storage, 2 - 8' tables and my wheel and ware board station near the wheel. If that sounds like a lot of stuff, though it is the bare essentials, every nook and cranny and open wall space is in use. After throwing terra cotta for 7 days, the shelves and tables are full, there are ware boards on the floor and I have quite a bit more to make. I am constantly astonished how quickly the studio fills up and even more in awe that space, really is the final frontier.

SIX OF ONE, HALF DOZEN OF THE OTHER

Recently a collector friend sent me a group of vases and several chawan to look at and identify. The pieces had been collected over a decade of living in Japan. I wasn't sure what to expect, but I was aware he had a keen eye so I had very high hopes. The collector, primarily interested in Nihonto, collected the pieces from 2002 to 2011 and were bought from either gallery shows or ceramic dealers. As I began to unpack the group, I was immediately struck  by the potters and styles. The first two unpacked were vases by Matsuzaki Ken, both exceptionally well wood fired. The next pot was a heavily faceted Ki-Seto vase by Ando Hidetake and the last vase an ancient looking Iga piece by Kojima Kenji with impressed stamps on either side and a wild array of ash, including the upper portion covered in a blanket of green ash acting as a window into the violent nature of the firing. The two chawan didn't disappoint either, one an illustrated  Shigaraki chawan by the late Furutani Michio and a phenomenal Iga chawan with a brilliant wonky posture born out of design and intense heat. In total, an impressive, small collection of great pots.

Illustrated is a stellar Iga chawan by Kojima Kenji. Over three-quarters of the exterior surface is covered in cascading ash, creating the impression of perpetual movement.  The interior is also covered in ash with the floor of the bowl having a glorious pool of brilliant green glass staring back at the viewer. The foot and overall form has been pushed to the limit of the intense firing and what is left is a pot that displays a timeless, medieval attitude that is the goal of many  a potter, which few can achieve.

"I would rather be able to appreciate things I cannot have than to have things I cannot appreciate." Elbert Hubbard (1856-1915)

OUT OF TIME

Illustrated is a classic Iga chawan, made in the last 20 years or so, but medieval and timeless in appearance. The rustic beauty of the clay and its ash covered surface suspend the piece, out of time, neither new or old, but possessing a quality that makes great wood fired pots so evocative. This Iga chawan is by Kishimoto Kennin, a gifted renaissance potter who has mastered a wide array of styles, though for me, it is his fluid kannyu seiji and Iga pottery that speak about any time from Momoyama to modern days.  

"Time is the longest distance between two places."  Tennessee Williams (1911-1983)

THE RED MENACE

Ah, the joys of terra cotta, they are numerous and nearly infinite, followed only by the realization that after several months away from the red clay, it is as if I had forgotten how to throw entirely. When I get in that rhythm of throwing stoneware, at times, it seems anything is possible on the wheel. The clay is so compliant and cooperative, it has body and it stays just where you push or pull it. Terra cotta on the other hand is vastly different and each cycle with the demon red clay requires its pound of flesh to get the ball rolling. Over all the years of working with terra cotta, I have fine tuned a way to get back into the swing of things; start simple. The first day is at best, a so-so day, so work on small bowls to get back the touch to work with red tooth paste.

I was recently asked (commissioned) to make a small dinnerware set in terra cotta which was the genesis for this new cycle. Since I will also need some terra cotta pieces for some upcoming shows, I thought now was as good a time as any to get going. Plates, bowls, serving pieces, covered jars and some tray forms are on the agenda to be decorated in my abstrakt resist, tebori, Its Still Life and black and white slip, when all is said and done, probably 3 to 4 kiln loads and about 120 pieces or so. Since I only started on Monday, I think I have a few more days to go, before everything is thrown or made and in the mean time, I will use every extra moment to moan and groan about working with the red menace.

ITINERARY

Anyone who has traveled understands the necessary planning that is involved especially when visiting appointments are arranged prior to the trip. Having made a number of trips to Japan during the 90's, the itinerary is almost as important as the plane tickets. For us, our plans included special landmarks, castles, temples, gardens, museums and of course pottery destinations and individual potters. Seeing Osaka castle, the Kiyomizu-dera, Daitokuji, Ryoanji and numerous other sites was woven into our plans to visit with potters from Kyoto, Shigaraki, Iga, Mino, Bizen and Hagi. Normally we would make plans to meet with 6 to 8 potters on our trek and possibly met a few others along the way by serendipity, like when I walked into an exhibit and got to meet Suzuki Osamu! Though collecting pots is wonderful, our trips were about seeing great cultural landmarks, museums, enjoying some great food and experiencing pottery at the very source. A well planned trip yields a decade's worth of experiences.

Recently, a fellow collector from New England, who I have gotten to know over the internet, made a well planned trip to Japan with the major focus of meeting with and seeing pottery in a variety of locales. His trek, almost epic in nature, was all planned with the help of a wonderful native Japanese  dealer showing what can be done by a motivated collector in the internet age. Having a predilection for wood fired pottery, his trip brought him to Bizen where he meet with  Isezaki Jun & Koichiro, Kaneshige Kosuke, Kaneshige Junpei and Donna Gilliss who studied with Isezaki Jun before setting up her own studio in Bizen. Along with Bizen, he made his way to visit with Shigaraki and Iga potters, which included; Kishimoto Kennin, Kanzaki Shiho, Kohyama Yasuhisa, Furutani Churoku IV, Tanimoto Kei, Okuda Eizan, Sawa Kiyotsugu and one of my personal favorites, Kojima Kenji. Aside from these wood fire locales, the stops included Hori Ichiro, Ajiki Hiro, Higashida Shigemasa, Kato Yasukage XIV, Mihara Ken and Maruyama Touri. The stay was also punctuated by visiting several exhibits including the works of Tanaka Sajiro, Inayoshi Osamu and Uchida Koichi. As you can see, he covered a lot of ground, saw a large number of pots and did it all without going on a pottery tour. Along the way, he also got to enjoy some great food and even brought home a treasure or two for all of the efforts of his well planned trip.

Illustrated is an Iga tsubo, which was collected at the studio/home of Iga veteran, Kojima Kenji. The fierce ferocity and velocity of the firing is frozen onto the surface of this tradtional, yet modern Iga tsubo and the pot can also be seen to scale in the photo of Kojima-san at his home.

(Illustrations courtesy of a private New England collector.)

DISTILLED

Illustrated is a bowl, about as simple as I can make it, distilled down to an undulating form with three areas which have been pulled out, spout like, around the pot. This stoneware bowl was first bisque, then dipped in a bisque slip at the three points, creating the triangular void in the center of the piece and then glazed overall in a thin nuka ash glaze. The glaze is made with unwashed nuka ash and where the impurities collected in the bottom of the bowl there are spots of iron and what not about giving the piece a richer landscape. I realize that a lot of my pottery is anything but simple and every now and again it is rather satisfying to strip away the extras and work as simply and directly as possible. I think this bowl fits that category.

FINITE H

At almost any level, it is hard to think of hydrogen as a finite material since it is about 75% of all the known  material in the universe, but, the reality check is, that it is. In essence, the material that we all take for granted, is the fuel of everything, it is the virtual energy of stars ( and nearly everything else as well). As a potter, I have really not given hydrogen much thought, but it is part of everything I do, from the making to the "baking" of pottery. Without it, there would be vast nothingness and according to scientists, that is exactly what will happen in the distant future. As the hydrogen is finally depleted, stars will die and implode, everything will end. To paraphrase physicist Brian Cox, as this happens, "nothing will happen and will continue to happen for all eternity". Why the sobering thought? Why not, its Wednesday.

 

RAPHANUS SATIVUS

Illustrated is a classical Ayame-de Ki-Seto hachi by legendary potter, Suzuki Goro. Decorated with an incised radish design with copper accents this hachi is the epitome of timeless and Momoyama inspired pottery. There are a variety of incised designs in the ayame-de style which includes irises, radishes, kiku blossoms, turnips and several others. The complex interaction between the wet and dry surface together with the skillful and fluid rendition of the design is quite wonderfully accentuated, even puncuated with the addition of copper about the bowl. When I think of this style of work, Kato Tokuro springs immediately to mind with his superb interpretations of such Ki-Seto glazes, designs and vessels which undoubtedly set the stage for this inviting serving piece. Suzuki Goro, along with Hara Kenji, Hori Ichiro and the late Kagami Shukai have all admirably master the Ki-Seto style of pottery and follow in the footsteps of both Kato Tokuro and Arakawa Toyozo.

SLICED EARTH

I received a package from Amazon yesterday and in it was the long overdue book; YASUHISA KOHYAMA; The Art Of Ceramics. I first heard they were going to publish this book from Wakae Nakamoto (Kohyama-san's assistant), nearly a year ago and have been waiting for it to go to the publishers. A few delays worried me that in this age of disappearing books, it may not be published, but my pre-order arrived and I am pleased to say, it is a very fine book with an exceptional array of photos and essays. The essays are by Susan Jeffries, Michael Cunningham, Yoshiaki Inui and Jack Lenor Larsen and through these, you get a perspective of the artist and individual who helped pioneer the age of the modern anagama in Shigaraki Valley. The illustrations show a nice selection of works from the 1980s to present and there are pictures of Kohyama-san with Hamada as well as working, loading and firing the kiln. I was rather surprised to see two photos taken while I was working at the Iori-gama in 1993 showing Kohyama-san stoking the anagama. For any one, potter, craftsman, artist or collector, I would recommend this book, not so much as a book about a Shigaraki potter, but about the work and life of an individual dedicated to an aesthetic and an ideal, over 50 years in the making.

"The essence of  Kohyama's work is a combination of physical aesthetics and the transfer of his energy, which gives each piece a unique life of its own."   Yoshiaki Inui

Illustrated on the book, KOHYAMA YASUHISA; The Art Of Ceramics is a wonderful Shigaraki mentori-object by Kohyama Yasuhisa. The object is cut with energetic slices and the surface is covered in a wet sheen of ash from the intense anagama firing. The shoulder of this sliced earth form is further accentuated by a thicker build up of ash that accidentally (?) accentuates the cut line of the body. There is a whole lot of energy is this great little pot.

THE ZEN OF WAITING

It will come as absolutely no surprise to any potter, that making pots is as much about waiting as it is the physical act of dealing with clay. Once thrown, there is waiting on pots to set up to tool and otherwise deal with them, after this, there is waiting on pots to dry to bisque. Once bisque there is the prep work with wax, more waiting, glazing, waiting on secondary glazes and then firing the kiln where there is another wait, fraught with anxiety, waiting for the kiln to cool and be unloaded. Granted, the time spent waiting, is used for any variety of pottery tasks, or just every day normal chores, even a cup of coffee or tea, a moment with a book, a bit of television, but make no mistake, running in the background is that "waiting program" capable of creating some mental systems errors along the way. Waiting and any sense of patience has been one of the hardest parts of clay I have had to deal with and I have written about this before. As each cycle passes, the waiting becomes easier to deal with and process; there are tricks and exercises to deal, mostly keeping busy with chores, tasks, tests and the normal daily routines, but make no mistake about it, there is a Zen to waiting as almost any craftsman can attest.

Illustrated is an "ITS STILL LIFE" end table entitled; "Waiting". Partially inspired by my understanding of the act of waiting, the tiled surface is an image that allows for the viewer to creates his/her own narrative. The wood table was bought at a bare woods store and then  stained and polyurethaned and the tiles are commercially available cone 6 porcelain on which I painted the still life and later fired with clear glaze. The tiles were securely attached to the table and then grouted for years of use. The subject matter and the process to get the table completed are as much about waiting as any project I can think off.