BOOK COVER

I know a book dealer who from time to time finds books on Japanese pottery and recently he found a nice set of five books on "famous" potters of the Showa period. As I unpacked the group, each in their own protective boxes, the first volume I pulled out immediately got my attention. On the full color dust jacket is a fine Tsukigata Nahiko kinuta vase. Being fond of not only the form, but the potter, I thought it rather telling that this was the pot chosen for the cover where all the other illustrations are B/W. Some of the other volumes had pictures of Koyama Fujio, Miwa Kyusetsu and Kusube Yaichi on the covers so obviously both author and publisher thought extremely highly of Tsukigata and his work. Illustrated is a photo of the book cover, a very fine and rustic looking Oni-Shino kinuta-hanaire, the surface is a rich blend of glassy and semi-dry ash creating a wonderful landscape and the fissures that are a by-product of a tumultuous and brutal firing add a charm to the pot, creating a timeless beauty. Having seen a number of this form by Tsukigata, I can say they have a great sense of strength and honesty that few pots can match. On occasion I use the term "book cover pot" to emphasize the importance and bearing of a piece, in this case it has that and so much more.

"You can't judge a book by its cover."  Old Anonymous Idiom

E-SHINO PICTURE SHOW

Though appearing to be a Muji-Shino vase, the subtle iron decoration under the glaze gives away the true identity of this piece as classic E-Shino. Inspired by Momoyama archetypes, this vase has wonderful throwing marks creating a sense of movement and gesture, a skill that Hayashi Shotaro excels at. I had these photos hanging around and decided to build a slideshow to try to impart what this pot looks like in person. Though subtle in many respects, there is a presence to the vase that single photos just can not capture. You can see this vase over at my marketplace by following the attached link;

http://www.trocadero.com/albedo3studio/items/1147898/item1147898store.html#item

MUGGED

I like black & white, the possibilities may seem finite, but they are in fact infinite and only limited by one's imagination. The illustrated black & white mug is what I refer to as "mugged", thrown round and cut, darted and beat up a bit to form a slightly ovoid shape with a distinct lean where the handle is attached helping make for a more comfortable grip and is finished off with a pronounced thumb rest to aid in the general physics of drinking. The surface was coated in a rich black with white applied over creating a distinct seam along either side, balanced above the notched foot which creates a sense of backward movement in the piece. This type of pot is fun to make and like so many others, even move fun to use. Anyone for a late summer glass of banana bread beer?

"Imagination disposes of everything; it creates beauty, justice and happiness, which are everything in this world."  Blaise Pascal (1623-1662)

A SIGNATURE POT

I have written about Mizuno Takuzo in several previous posts, his work is both visually engaging and functional in its execution, he has a precise sense of appropriateness in relationship to chadogu and its design. This wonderful Oni-Shino chaire is a classic example of his work and the possibilities that he sees within the tradition and the stereotyped vessels used for tea ceremony. The Momoyama influenced piece has an evocative, almost Rimpa style decoration in rich iron slip that once covered in several varying layers of Shino glaze creates a variety of atmospheres that conjure up thoughts of both misty moors and a myriad of tales of ancient Japan. What never disappoints about the work of Mizuno is the unique quality of his glaze with its thick, translucent nature and the fine cells and crawling that appear like a signature of an individual potter, there is a calming nature to his surfaces even when they present rich, complex and even turbulent visions.

You can see more of this chaire by following the provided link to my Trocadero marketplace;

http://www.trocadero.com/albedo3studio/items/1262488/item1262488store.html

ON COLLECTING REDUX

I originally wrote this a number of years back and it was posted on a friends website. Last year the website closed down so I thought it about time that I posted this up on my blog to give a glimpse into how I see collecting. I have had a fair amount of feedback over the years to this short essay and hope it is at the very least an interesting read.

ON COLLECTING

Why collect, why indeed! Is the presence of beauty and a “well made” object not enough of a reason? The honest truth in my mind, is the fact that I do not collect anything. This is not a mere exercise in semantics or some escapist clause looking to avoid the label of “materialist”. Rather I believe that my lifestyle is a dramatic and obligating choice to live with and around handmade or created objects.  This choice involves me in the daily interaction from this “things”, feeding off their inspiration, the care and curatorial duties that maintain them and the ongoing study of the history, context and creation of the “well made”.

From the time I was 16 and handled my first Michael Price California Dirk and began to decipher the mysteries of the Japanese Sword, I made a choice to have a personal space, an environment, that I could have a degree of control over. A personal space began to define itself as one, which allowed me an uninterrupted moment of calm, as well as being able to give me inspiration and clarity. This choice created a space that fostered a dialogue that I continue to strive for today. To this end most people label me a collector, this looses site of a path my wife and I have embarked. A way of living, into which we can retreat, a sanctuary of handmade objects from which we can replenish and nourish our spirit.

For over 20 years I have made a conscious choice to own little, but to live with objects we find to have a sense of import or consequence. Our house is the only controllable environment that we have, and we strive to create a sanctuary from many of the worlds harsher realities as well as the stress and pressures of daily living. Within our home and it’s few pieces of handmade furniture, prints, painting, pottery and metalwork, we are managing a space that allows us brief moments of tranquility and clarity. The passion for living this way, in and around objects we see as beauty, has become our reward and personal connection to the works and talents of many inspired artisans, both living and dead, with whom we may have an ongoing and rich dialogue.

“The question, is not what you look at, but what do you see?”, this quote by Henry David Thoreau crystallizes my belief in the constant dialogue between object and viewer. “Good work” is first and foremost about this dialogue. The primary dialogue takes place between the maker and his artwork; the secondary dialogue is between the object and the viewer. In an object that qualifies as “well made” the dialogue moves through the maker, into the object, and to the viewer in a manner that can not be explained, only felt. It is like standing in front of Monet’s Waterlilly paintings or other masterpieces, the message, though at many differing levels, is understood by all who come in contact with them. It is in my mind, probably this dynamic that defines the object and all other objects that are of a like nature.

It is this dialogue, a very personal and often solitary experience that has forced me to live the way that I do. In this dialogue, I am able to place an object within an aesthetic context, but also a personal one within my own environment along with my interests and experiences from music and film to food, drink and literature. By creating this dialogue, I can also help decide how I live, influencing moods, pursuits and my personal creativity in my pottery and paintings.

Choosing things to live with is a very personal and rarely objective experience. I am guilty of responding to objects that I perceive as “well made”, and consequently in time the level of dialogue I can have with them is diminished. These were the wrong choices, things that I become complacent with or bored of. Things to look for should be a constant source of information and emotion. Over time and exposure to new experience the greater the dialogue with a “well made” object becomes. At 20 and now at 40, my ability to maintain a meaningful and rewarding dialogue with arts and crafts has changed and matured. A knife, sword or other object owned at 20 can not maintain this level of dialogue a piece acquired at 40 would take. Today decisions are made slower, even though an object may speak to me immediately. With time my ability to see within the object, beyond its technical craftsmanship, into its nature to transcend mere formality and function, has developed and with new experiences will hopefully continue to do so. Today the works I am looking to live with reach beyond a high level of craftsmanship and artistry, looking to push beyond the conventional and add to the field rather than simply rely on those things, which have come before it.

Most objects that I respond to now are stripped of the superfluous, and stand firmly on the beauty of a distilled line. These objects, whether chair or sword, reach for that indefinable “something” well beyond the concept of function, existing form and the preconceived limitations of contemporary materials. Contemporary damascus and modern studio furniture are good examples of this new aesthetic.

The qualities of a “well made” object are subtle. Inherently they possess a mastery or near mastery of the material, process and art of the particular pursuit. The simpler a “well made” object is, the more complex its definition becomes. Artists and craftsman after this “well made” work, after gaining a level of technical virtuosity, strip away these binding issues and in the conscious and unconscious mind, struggle with the greater concepts of contributing to the art, context and the act of creation. When all works well, as dained by the gods, the luck of planetary alignment or some other act of serendipity, an object is born that bares it’s presence or spirit. I have encountered things, such as a Japanese teabowl of the 16^th century, which had enough presence to fill a large gallery space. For this reason, museums carefully arrange their spaces to avoid overwhelming their guest and burning them out. When these pieces are created, I believe a certain amount of the creative spontaneity and tension is captured within the work suspending a moment of the creation.

Spirited and empowered works, somehow possess a spark that captivates those who come in contact with it. It is in this way that the viewer and viewed share a dialogue, a moment, that unfolds or unravels the nature and intent of the object. It is through a sensitivity of concept, form, material and process borne of humble and noble materials alike, which establishes the criterion by which an art/ craft is defined and driven. Likewise those sensitive enough to perceive these subtitles are able to enter into a lifelong dialogue with the works. Irrespective of whether or not they own the work in question. “Well made” objects somehow contain an ability to open themselves and share their inner beauty, meaning and complexities with those sensitive enough, and receptive enough to initiate, maintain, and continue a dialogue.

Through the internalizing process of creation and sharing the created, both craftsman/ artist and collector are plunged into a moment that shares not only the present object, but also its foundation in the past, it’s context and presence in the moment and it’s vital role in pushing the art into the future. A “well made” object maintains this interest and dialogue. The dialogue is continuous and continues to develop over time. These objects constantly reveal themselves, the longer they are lived with and around. In time you think you know all the nuances of a piece, yet you are constantly made aware that there are things you discover with each encounter. By bringing new experiences to the table, as you grow, your perception of the details change and your insights become more acute. Every day a new dialogue emerges, this work is never boring.  A good piece, "well made”, will always meet your aesthetic and emotional needs.

So, why collect, this is the personal, individual responsibility that needs to be answered. There are many reasons and definitions for collecting or living with art and craft. In my nearly three decades of “collecting”, I have found that the dialogue,  curatorial responsibilities and a need to research and define an object’s context, have driven me into the esoterica of metal, clay and ink. I believe that this pathway has lead me to a more insightful and complete relationship with my environment and hopefully in time will help me become not only a better craftsman, but a more thoughtful and responsible “collector”.

CONVERSATION II

As I have mentioned before, as a pot comes through my hands, I try to take as many meaningful pictures of it as possible. This documents the piece and allows me to capture nuances and details that over time I may forget about. Having all of these pictures and a new slideshow program allows me to share pots in a different way than a single photograph providing a better perspective of the piece. Hopefully in this case, the slideshow will help capture the strength and power of the pot and give a hint of what it looks like in hand.

After searching around Youtube where I host these slideshows, I was rather surprised that there was not a single piece up by Tsukigata Nahiko and thought it high time to remedy that omission. This Oni-Shino chawan was a piece that came through here a while back and was a good representative piece by Tsukigata with a wide array of features, a strong kodai and very nice teapool, mikomi. I am particularly fond of the bright green accents here and there on the outside face of the chawan along with the rich pattern created where the chawan stood on wads as the bowl was woodfired in an anagama. There is a lot to see in the pot and the conversation one could have is a bit more fleshed out by presenting the bowl in a more kinetic fashion.

The original blog post for a similar Tsukigata chawan can be seen by clicking on this link; http://albedo3studio.blogspot.com/2011/10/conversation.html

HAPPY LABOR DAY

Happy Labor Day to one and all.

"Work is the greatest thing in the world, so we should always save some of it for tomorrow." Don Herold (1889-1966)

MIZUSASHI REVISITED

Realizing the movie feature on my camera is not of very good quality and the turntable I have been using is limited to under 2 pounds and is shakey at best, I decided to start making more slideshows to show off the features, surface, form, etc. of pots for the time being. I have been trying my hand at the videos and these slideshows to help you a fuller accounting of the pots I am discussing and that interest me, for some, this is the closest you can get to the pot and hopefully this will add to the conversation. Closest at hand was an Oni-Shino style mizusashi by Kajiura Soshu, so it was my first attempt using a new slideshow program. I am also attaching the link to the description of the mizusashi from my blog and the page where it is available on my Trocadero market place.  More slideshows to come.

http://albedo3studio.blogspot.com/2014/05/doorstep.html

http://www.trocadero.com/albedo3studio/items/1251356/item1251356store.html

BEFORE & AFTER

Illustrated is a before and after montage of a stoneware slipped and combed covered water jar that was later glazed in a rich, Albany slip based amber glaze. The surface of the pot has a variety of textures including where the white slip was brushed on and allowed to create areas of thicker raised slip along the brush marks. The combed circles have the added texture of having areas where the ameyu glaze built up to create much richer and darker areas. The form of the pot was heavily influenced by Korean pottery by way of Karatsu creating a substantial amount of volume in a pot that is not terribly large. Though it was my intention to make the pot just as it is illustrated, the before and after pictures give a sense of how the pot had to be made to end up glazed just the way it did. Though I am a huge fan of running, flowing glazes as well as ones that change dramatically in the kiln, there is something to be said about surfaces that come out just about as you see them in your mind's eye.

SHINZEN-ENSO

My cousin Marie, not Vinny, sent me this photo a bit ago and I was immediately struck by the thoughts and associations that came to mind as I was looking at it. My initial impression was that it was a somber, moody and evocative photo that had the potential for being the backdrop to a thousand stories. What also sprung to mind was all of the Japanese period ghost/horror stories like KWAIDEN, GHOST OF YOTSUYA, UGETSU MONOGATARI and of course the Japanese Macbeth, THRONE OF BLOOD. However, the more I looked, the more I saw an enso, a natural enso (shinzen-enso) and I keep coming back to that image and the myriad of aphorism that accompany them. There is a resounding totality to the enso and as more images and thoughts emerge, the easier it is to draw a correlation between moon and a simple circle of ink. In reality I think it is easy to see the moon as an enso, just look at the number of calligraphers who reference the moon when depicting them, it is as natural to do so as the moon and its variety of manifestations have touched man since the beginning of time. In particular, there is a favorite enso and calligraphy that is brushed along side;

"Is it a cake? A dumpling?

The ring around a bucket?

What does it represent? Tell Me!"  Nakahara Nantembo (1839-1925)