WHAT A DIFFERENCE

I am amazed at the nature of photography, it seems that for the average person with a camera what results is a pot that either looks better in the photo or much better in person than the photos displays. I understand there is an art, a discipline to photography but let's face it, most of us are just not great photographers. Case in point is that I recently saw a yuteki temmoku pot by Kimura Yoshihiro that was just not that interesting, than I got to see the pot in person, what an incredible difference. In the original photographs the surface looks flat, almost lifeless and with just the hint of any color variations, in hand the surface is alive, in movement like a cosmic dance. The "oilspots" are each composed of a number of colors from black rings, rusty partridge feathers, hints of blues and greens and even hues of silver graded neatly in size from large at the top and growing ever smaller down the pot. I tried my best to capture the actual surface in a photo and came about as close as I can with my camera and tungsten bulbs what a difference a photo can make, now I know why  there is the old adage about pictures but it really should say,  "a good picture is a worth a thousand words".

"Photography, as a powerful medium of expression and communication, offers an infinite variety of perception, interpretation and execution."   Ansel Adams (1902-1984)

GEOMETRY LESSON

When I first saw this photo I immediately thought of some far off geometry lesson cloaked in a filter of green glass; it reminded me of the doodling I did in high school instead of concentrating on the subject at hand. There is a sense of geometry to much of the work of Usui Kazunari (b.1954) and this futamono covered box shows a pristine attention to detail that goes well beyond precision to create a piece that is immediately visually engaging and contemplative. Born and trained in Seto  and studying under Kato Shunto, Kazunari studied at the Nagoya University of Art before establishing his own studio in 1984 and has had a splendid career focused on a modern interpretation of Oribe with surface decoration that specializes in incised and inlay work. Using crisp incised lines and areas of inlaid color, the surface shares a wealth of color that communicates like a modern day artistic rendering of a mathematical fractal. If one were to simple describe his pots they could easily come across as technical exercises but when you see the finished piece nothing could be farther from the truth.

A LITTLE DEPRESSION

Illustrated is a detail shot of two vases with saucer style mouths that are flanked by a series of rings that allow the glaze to pool in little depressions made using the end of a wood tool. I like putting these depressed areas at various points around my pots to help collect and build up the glaze as it moves to create richer and visually fixating points for the various pieces. The use of this technique works well with not only glaze but slip as well as I usually wipe of the slip from the high points creating yet another visual texture to the surface which can be seen on the saffron, iron yellow vase on the right while the vase on the left clearly shows what happens as the Oribe pools and creates blue-green tendrils in each of the rings. I realize this is not rocket science but the rich, more diverse and engaging you can make the surface, the better the story the pot will have to tell and that is what I am constantly after.

"The next pots is always going to be better than the previous one, that's your motivation." John Leach

HDG II

I put together a short slideshow video of a Bizen hikidashi-guro chawan that just arrived here. Made by Akiya Masao a student of Isezaki Jun, Ningen Kokuho for Bizen ware this is part of a more modern movement to create both Kuro-Bizen and hikidashi-guro style tea wares. As a combination of both styles this pot has a rich black surface with large areas of runny and glassy ash created by pulling the pot out of the kiln when the surface is actually liquid and once pulled from the fire and allowed to cool, the surface is permentantly frozen in time. The bottom of the chawan also exhibits the scarred remains of a group of shells on which the pot was fired, each flanking the kodai like feudal guardians of the four directions (Shi-tenno) with a gravity defying rich green-brown bidoro drip hanging precariously off the base of the bowl testifying to the liquid quality of the ash just before it was removed from the fiery embrace of the kiln

You can see more of the Akiya chawan over at my Trocadero marketplace;

http://www.trocadero.com/stores/albedo3studio/items/1317476/item1317476store.html

ONE AT A TIME

I made a short video of an Oribe teabowl I made and fired recently. I usually throw a group of four or five teabowls that I then alter and manipulate to create the forms I am after and that feel comfortable in the hand, though working in a short series, they are crafted one at a time with each piece adding to the next. This particular bowl is stoneware with a thick porcelain slip surface which brightens the rich Oribe surface which coveres the piece. I enjoy making these thrown and manipulated bowl which are finished with hand cut feet using a simple, sharpened piece of bamboo. Though these teabowls are inspired by several modern Japanes potters, I think that I have hit upon several forms that are my own, unique to how I work and in a scale that interests me beyond being tied to the traditional chawan. I know I have quite a few of the 10,000 hours left to get where I want to go but one piece at a time the pots get closer and closer to what it is I see in my mind's eye.

ATTACK

I consider myself fortunate to have been able to study, work and fire with Kirk Mangus back in the early 90s. Watching him throw and then decorate his larger pots was quite a spectacle; a blend of speed, strength, determination, spontaneity and purpose. I was at Kent State when Kirk created the illustrated covered jar which is a fond memory as much a grand learning experience as it was pottery theater. He started by wedging two large amounts of clay and then centering the first amount of clay and then slamming the second one on top and centering it and the entire mass. Once centered he began the process of opening the clay up and making it rise from the bat, nearly 20" tall  with walls purposefully left thick to accommodate his style of deep relief carving.  After a few days the clay had set up enough and he first addressed the lid to make sure it made a good fit and then with a knife, simply cut away the excess in sharp, crisp facets to reduce the weight, then the carving of the pot began. Taking a moment he walked around the pot surveying the surface, form and obvious steps to the piece and wielding just a couple of tools he set in the raised boundaries that separated the panels before just going at the pot like a focused dervish in a well practiced attack. His cuts were fast and exceedingly direct and I did not see him hesitate even briefly and then the pot was done. Even though I know his menagerie of designs and elements was well practiced it was still quite the experience that I have yet to forget even a moment of.

"Every man's memory is his private literature." Aldous Huxley

THE RIGHT BLEND

Looking a bit more like a medieval storage than a modern mizusashi this pot owes its creation to a adherence to tradition and an eye to the future. Made by Osako Mikio this Tokoname mizusashi finds its roots in Kamakura to Edo era storage jars while uniquely blending the old with the modern approach that was first espoused by Ezaki Issei and carried on by two of his students; Osako Mikio and Takeuchi Kimiaki. This mizusashi has a rather feudal form and simple lid with a surface of rich textured running ash which has created a pot that has an exceptionally utilitarian feel balanced with the complexities of the Chanoyu for which it was both intended and well suited. Synthesizing the formal and the everyday, Osako Mikio created pots that are conversant in both their purpose and the casual nature they reflect. Finding its origins in the old, this modern pot is a classic addition to the Tokoname tradition and a unique vision that clearly points to a dedicated potter.

"Every pot has its lid."  Old Proverb

誰にでも適当な似合いの人がいる 

BETTER LIGHTING

Illustrated is a composite photo of a 14" tall paddled Oribe vase that came out of the last kiln firing. Initially I decided to photograph it in situ and after looking at the pictures decided to add another picture with better lighting. Though the photo with the vase in use came out rather nice most of the detail is lost in the shadowing of the floral arrangement and in order to get the full perspective of the pot I combined the photos so that the real details, surface and color were visible. The vase was paddled when the clay was just thrown and actually before the neck and shoulder were fully formed and then fine tuned after the brutal assault giving a nice texture to the base as well as breaking up the stiffness of the form. The Oribe I am currently working with has a wide array of possibilities and certainly appears very different under different light sources making this possibly one of my favorite styles to work with. I know I have said this previously but Oribe makes for a nearly limitless palette of surfaces and I doubt I will get even close to exploring even a fraction of its potential.

RECTO/VERSO

Illustrated is a well fired and somewhat formal Shigaraki hanaire by Honiwa Rakunyu II. Excelling at making traditional chadogu, Honiwa's work is immediately identifiable  and processes a disciplined dedication to the craft of tea ware and many of his pots have attested boxes by both Buddhist priests and chajin alike. This vase created for the tokonoma displays an extreme between front and back with the face coated in a rich charcoal surface with melted green ash above the shoulders and the rear a combination of warm flashed area at the center with ash in various hues about the sides, base, neck and attached lugs; the pot has been painted by the fire with a wide array of brushes making for a surface that has a rich story to tell about its adventure. I was fortunate to have met Honiwa Rakunyu on several occasions and see a large number of his chadogu many fresh out of the kiln, his formal sense created objects for tea that most any chajin would be pleased to use. There is little more that a potter can ask to leave behind as a testament to his vision and dedication to a tradition at odds with and also perfectly in step with a new century.

You can see more of this vase over at my Trocadero marketplace;

http://www.trocadero.com/albedo3studio/items/1315930/item1315930store.html

VARIETAS

Illustrated is another Shino mallet vase by Mino veteran, Yamada Seiji. Though similar to one from a previous post, this form is far more sturdy and purposeful as if it is an exact copy of a well used and weathered wood mallet that has seen years and years of serious and abusive work. Yamada created this piece with a  short neck and simple tapered body complimenting each other quite well and making for a very natural and cohesive shape. Covered in a lustrous Shino glaze with alluring areas of blushing seen around the base and is complimented with a faint yuzu style texture and interconnecting fissures created by the glaze tension. The pot is finished off with a slightly chamfered foot which helps raise the pot off the ground and making it much more pleasing to the eye. The more mallet form vases I see the greater number of details unfold making for a form that never gets old and is a balance of both simplicity and variety.

The previous Yamada Seiji mallet post can be found here;

http://albedo3studio.blogspot.com/2015/02/seiji-shino.html