SQUARE DEAL

Though I am in the final stages of finishing up my terra cotta run, I have been interjecting the occasional test piece here and there. A couple of weeks back, I decided to try taking some thrown cylinder teabowls and playing with the forms a bit to see what I could come up with. The first couple of bowls, were thrown and paddled triangular, which were okay, but not very satisfying or practical in terms of function. The latest group I decided to keep simple. The bowls were paddled square, rasped to define the edges and then came the tricky part, how to address the feet. I have made squared bowls and forms before and in the past, most had wheel tooled feet, though it works, I wanted something a bit more complimentary and to seem less like trying to fit a round peg in a square hole. This time around, I defined the actual foot and then proceeded to cut away the excess, leaving a square foot which better complements the form. The interior of the foot was cut out to tie in to the swirl in the interior of the bowl. I have plans for how to glaze these and if all goes well, I'll post up the finished results in a down the road.

"Nothing is a waste of time if you use the experience wisely."    Rodin (1840-1917)

DETAIL ORIENTED

Back, when I used to contemplate how many angels could dance on the head of a pin, I was reminded constantly through my parochial education and the use of a ruler; "the devil is in the details". When I look at a pot, I start by addressing the whole and then break it down into its components or pieces, studying the details. Do the details end up being more important than the whole or vice versa? These are obvious keys to judging the quality of a pot as well as identifying the potter. That being said, I thought it would be interesting to showcase close-ups or details of pots, that short of handling or seeing in person, are lost to most. From the obscure to the famous, the devil is invariably in the details.

Illustrated is a close-up of an abstract design from a mizusashi by Shinkai Kanzan (1912- 1996? ). Shinkai was a prominent Kyoto artist who was more interested in creating an array of forms complimented by a myriad of decorations, rather than solely creating works for the tea ceremony. Though he had a large set of technical and decorative skills, he was well known for and particularly adept at attaching stamped (decoration) porcelain onto a stoneware body to create vivid designs of fish, birds, abstract design and others ( see an earlier blog post for an illustration). This particular piece was thrown and then had paper resist placed on the surface and thick slip both brush and dabbled on to the pot, after which, the paper was removed. The pot was later glazed in a vivid sancai technique which further highlights the thick slip and recesses. A rather simple technique that has yielded a rich and extravagant atmosphere.

THE SIMPLE PLEASURES

We made a trek down to CT, dodging the after affects of Sandy and the recent Nor'easter, to deliver pots to Wesleyan Potters for their annual holiday sale. The trip and hand-off of pottery went smoothly and we took some time to go to a great bakery in Guilford for chocolate covered cannoli and to have lunch at one of our favorite dinners, NICK'S PLACE in Madison, CT. As predictable as I am, I indulged on my favorites, a char-broiled cheeseburger with all the traditional toppings and very well done onion rings, the simple pleasures. What could possibly beat a really good cheeseburger and  well done onion rings?

Somewhat related to the topic, for all you Parrotheads;

OUTSIDE THE LINES

I am not sure why, but I truly enjoy the eccentrics in Japanese art. The bravado and daring to follow an eccentric vision interests me and the idiosyncratic nature of the work is a lure, a beacon while standing outside the traditional convention of the field. The only drawback to the work of the eccentrics is that their appeal is mostly limited to those who also enjoy work outside of the norm and bucking convention. Over the years I have been drawn to the likes of painters Murase Taiitsu and modern painter Sato Katsuhiko, while the pottery of Isamu Noguchi, Tsukigata Nahiko and Kumano Kuroemon has managed to get my attention. It is the uniqueness and innovation of the eccentric artists that is captivating in technique and spirit. I say uniqueness, but in reality, most of the eccentrics use traditional idioms and through dedication to their vision bend them to their own by working outside the lines of convention, creating something entirely new, bold and pivotal to their art. In the end, I see the eccentrics as the pioneers who, like an engine, drive and help propel the possibilities of their various pursuits.

Illustrated is a guinomi by eccentric and dedicated potter, Kumano Kuroemon. The guinomi is simple in form with a surface that narrates the violence of the firing in which a thick coat of melted ash coats the Shino glaze creating a surface that looks like frozen ice complete with fissures and drizzling tamadare style ash moving down the piece.    A side affect is part of the real beauty of these eccentric works, the surface has a luminescent quality to it and depending on the light source, the viewer is seduced by its unique presence and power.              

BLUE MONDAY VIII

Back in the mid-80's, my wife and I became acquainted first hand with the works of both Morino Taimei and Miyashita Zenji (1939-2012) through Joan Mirviss in New York; since that time, the two have remained among our favorite non-traditional ceramic artists. Sadly, Miyashita Zenji passed away this year, his absence will certainly leave a void in the field of sculptural ceramics of which he was among the best. The works, based on what would appear to be a simple idea, was an achievement in technical skill as well as a mastery of form. His unique sensibility brought his ceramics into motion, animated with various hues and all of those crisp, torn edges, stacked one on top of another creating a narrative that brings the viewer, round and round the vessel.

Illustrated is a close-up of a vase form by Miyashita Zenji that is like looking into a distant landscape of row after row of mountains at dusk, the starlight barely illuminating the ranges in varying hues of blue. I am reminded of the landscape paintings of Fu Baoshi,  though there is so many things one can see in Miyashita's work, the possibilities are endless.

"After you cross the mountain, more mountains." An Indian Proverb

IN THE SPIRIT OF GOJO-ZAKA

Of all the students that Kawai Kanjiro taught, there is one standout who managed to infuse his master's syle with his own unique vision and that was Kawai Takeichi. Kawai Takeichi, also Bu'ichi, (1908-1989) was both nephew and student of Kawai Kanjiro spending a long while as student and assistant to the master. For a time, Takeichi also assisted in instructing the apprentices at the  studio and kiln at the studio/kiln in Gojo-zaka of Kawai Kanjiro.  Though his work has that distinct Kawai-mon (Kawai school) flavor and is at times mistaken for the work of his master, if you see enough and study the works of Takeichi, it is rather easy to see the differences between master and student. Takeichi had a son who has gone on to make pottery, KawaiToru (b.1941). Toru  studied first with his grandfather, briefly from 1964-1966 and then with his father. Toru's works differ quite a bit from his father and grandfather though it still bares that distinct Kawai school flavor. There is absolutely no gosu blue, like that of the Kawai school.

Illustrated is a wonderful, Chinese influenced mizusashi by Kawai Takeichi glazed in a soft and streaked Chun glaze with vivid accents of purple boiling up through the surface. The edges of the mizusashi have been effected to help create a frame that encapsulates the form and it is done to great effect. This mizusashi clearly illustrates the style of Takeichi ,created in a mold and is much more straight forward form than those used by Kawai Kanjiro. This is not to insinuate that Takeichi was less imaginative, but rather the path he decided to espouse was based on, but not copying that of his master.

THE DAY AFTER YESTERDAY

We woke early, though sleeping through the howling freight train gale of Sandy was tenuous at best. Our quest was to go out and find some ice as we had been without any electricity for nearly 12 hours and we had a freezer and frig full of perishables. Ice and coffee secured, the winds now diminished, continue to blow, spreading debris, leaves, branches, trees and misc. everywhere. As we arrive back home, the sun is trying its best to peak through the angry clouds with flocks of geese making their way southward as a solitary large badger skulks back toward the woods, his nocturnal foraging interrupted by the rudeness of Sandy.

We had taken the precaution of packing the freezer with jugs of water, now frozen and added bags of ice to the refrigerator, hoping that power will be restored soon. All in all, despite downed trees; home, studio and car rode out the storm and have fared well. The convoys of power grid bucket trucks and utility vans headed east, give some solace that the power outage is being addressed. I am rather tired of all the storms we have gone through in a number of locations and moves ago and I am seriously wondering if there are any abandoned nuclear missile silos within commute of my wife's work. After all, potters can work just about anywhere.

(This was written at 7am on the morning of 10/30/2012)

As a postscript, the power finally came on at about 1pm (10/30). I had decided to begin glazing on another kiln load of pots in the semi-darkness and the addition of lights was more than appreciated. Food stuffs in freezer and frig also fared well thanks to some careful planning. As one can imagine, life without electricity has its pitfalls, but I must admit, I certainly got more stuff done this morning than is normally possible with the distractions of computer, CD player, TV and hot water!

STORM WARNING

We are in the depths of Fall here in the Mohawk Valley, the trees that partially obscure our view of the river in the valley below are almost entirely bare, the color and leaves all but gone. For weeks now it is common to see huge flocks of geese making their way south, but that has changed in the past day or two. Now we see geese in pairs, small groups and flocks of hundreds making their way back north as the skies are filled with clouds and the wind is picking up, but by late afternoon, no more geese. There is a storm coming and though Sandy is not likely to be as bad in our area as along the coast, we are weary of the high winds, heavy rainfall, flash floods, snow and possible power outages. We have made every precaution possible, moving anything not nailed down into the garage to avoid flying debris of our own making.

As you watch the weather, the ominous storm reminds me of the view from space that was in the movie; THE DAY AFTER TOMORROW. It looks imposing and we are taking it seriously. We have stocked up on necessities and will ride out the storm and hope the shelter of the area lessens the impact. Though I am in the midst of glazing and firing, I am going to put off both for a few days and hope it doesn't put me too far off schedule. With the wild predications and forecast, better safe than sorry.

Here is a bit of levity and perspective given the impending doom that is forecast;

TANI-SAN II

Traveling through the ether of the internet, I stumbled on a rather nice vase and thought it worth sharing. This vase is the epitome of medieval styling and showcases the classical firing that is Ko-Shigaraki . Obviously patterned after a historical archetype this hanaire by Tani Seiuemon is picture perfect with a wonderful green glass ash flow cascading down the face of the pot acting as a permanent reminder of the flame and the potter. This is a much better representation of the work of Tani Seiuemon than are the three kogo I posted recently!

FORM

It is not necessarily an easy thing to admit, to come face to face with, but I have an addiction. I am a form addict, a form junkie if you will. It is forms that first capture my attention, not material, not surface, it is the form that first communicates with me on an intellectual and very visceral level. The stronger and more honest a form, the greater is the attraction. Over the years, I have come to understand how it is that I can love a wonderful seiji vase and an Iga mizusashi with equal enthusiasm, the common denominator is the form and how it commands space and the volume it struggles to contain. The form is also the seeming contradiction between the exterior, which is laid bare and the mystery of the interior. Add to this that each form can act as a metaphor for whatever the mind conjures; so what could really be more important than the form of a good pot?

Illustrated is a paddled vase that speaks about form accompanied by decoration and happenstance. This Mashiko vase was made by Shimaoka Tatsuzo (1919-2007) and the strong and purposeful form was decorated with his impressed rope decoration and then the pot was placed in a salt fired wood kiln with each facet of the pot complimenting the other. Without the great form, the surface and firing would have been for naught, but in this instance, all coalesce to create an exemplary pot.