PERSPECTIVE

It seems like I always regret leaving things to do over the weekend, in this case, I had to carved 5 terra cotta slipped pots including a covered serving bowl. I had a brief window on Saturday to attend  to the pieces but caught up with some house things and dealing with a guy quoting on some much needed yard project well beyond my skill set. So the day started with having to carve the pots, then I made two square plates and last but not least I did get to sit down and throw two covered serving bowls/ lids (CSB) and two 3lb cylindrical covered jars/ lids. I would have liked to have gotten more done but there were other studio "chores" that needed to be addressed including making up black and white slips and making a small batch of sandy stoneware so that it has some amount of time to mature (perhaps a week or two?) currently drying out a bit on plaster bats. In the end the results of a Monday weren't all that bad and driven by some classic 70s rock, which is IMO better than digging holes in the ground and expecting to find the lost treasure of the Maya in upstate NY. It is all about perspective.

LARGER THAN LIFE

This great illustration came from a 1999 issue of ART GRAPH and shows the imposing scale that Tsukigata Nahiko worked at in clay to produce monumental bronzes. In this photo, clearly shown at the right of the photo is the original maquette of this sculpture and is close to the scale of the edition bronzes of his various subject, in this case the great 16th century warlord, Uesugi Kenshin. I have seen quite a number of Tsukigata's larger than life sculpture and even more of his maquette editions but this was the first photo I had seen of a work in clay, being fine tuned and made ready for the casting process. Capturing the living in this static plastic rendering is only further enhanced by the attention to detail and attributes that make the subject matter immediately identifiable but this should comes as no surprise from the hand of the Picasso of Japan.

C=2πr

                                      

When I think about the work of the late Aoki Ryuzan (1926 - 2008) I don't necessarily think about Saga and Arita ware. What does come to mind is a potter whose work has a meticulous sense of throwing, tooling and form with a variety of surface treatments that not only complete his forms but in many respects help define his pottery. This simple yunomi is a good example of Aoki's classic decoration, temmoku glaze over porcelain, a rich and inviting iron lip with bands of oilspot style glaze surrounding the circumference of the pot with the one lone band of green focusing one's attention to the surface. This is a simple cup with a simple form and simple decoration but as you add up all the varying details, the pot is a study in complexity and how to get so many disparate elements pulling together to create a remarkable whole.

PUNCUATION LESSON

A couple of kiln loads back, I had thrown a few simple teabowls out of a porcelain test clay with a bit of grog added to it and here is one of the results. As I mentioned the form is rather simple though it was then scrapped to open up the clay a bit and then glazed in Oribe with a few additional additives sprayed over. I like the surface that I ended up just like  a punctuated lesson, activated by the grog popping out across the surface and the droozy nature of the glaze accentuating some of the unintentional vertical texture created by scrapping the piece with a metal rib. As you can see in the picture the foot acted as a glaze stop and collected up a dark, rich almost black Oribe ring that further accentuated that area, a pleasant yet unplanned benefit of using such a runny glaze. I think in that I ended up with a simple teabowl that still has quite a lot going on without having to alter or deform the shape and I am not sure if this was just skillful planning on my part or an abundance of serendipity and a reliance on a glaze that is next to fool-proof.

O.E.H.

I am not exactly sure where these flask style henko originate from though I have seen Sue ware pieces and even Korean Silla pots roughly of this form. From Bizen, Tamba, Tokoname all the way to Echizen various incarnations of this form show up though this particular form is all about naturally wood fired Echizen. Made by Kumano Kuroemon and fired alongside his Kuma-Shino pots, this Oni-Echizen piece was well fired and has a wide array of surface features and textures that he is well known for. The buildup of crusty ash at the mouth, neck and sides is counter balanced by the cascading ash running down the surface of the face while the back of the henko is covered in a thick, sandy layer of light tan ash that looks like a sandy beach composed of sparkling sand. I am not certain how often Kumano makes this form as this is one of only three that I have seen though a number of his Echizen contemporaries like Nishiura Takeshi seem more invested in this form and surface potential. At any rate this henko has a classic surface that Kumano has pioneered and as you look at the quirky nature and looseness of the piece it clearly fits within the vocabulary of all things "bear of Echizen".

SHINSEIDAI

In an article I read just recently though from 2004 it talks about Sakikabara Keishi as part of the voice of the "new generation" in Bizen. In some respects I found this rather curious but as I survey several pieces from a collection I can see the movement toward a more mature, modern style of Bizen lead originally by potters like Mori Togaku and Isezaki Jun who in turn have taught, mentored or influenced quite a few of the "new generation" of Bizen potters. For Sakikabara his earliest training came while apprenticed to Isezaki Jun starting in 1978 where he was introduced to not only what it meant to understand tradition Bizen-yaki but also to see the potential from what was locked away in this wonderful plastic medium.    

Enjoying its momentary solitary slice of sunlight, this Bizen chawan is a nice tutorial in angles, planes and texture all further enhanced by a classic Bizen wood firing. Though I am reasonable sure this chawan was thrown first, it does have that hacked out of a solid block of clay look best known as kurinuki, before it was cut and impressed to create a rather singular look. Like the bowl itself, the foot is composed of several rather sharp, crisp cuts with a briefly tooled kodai excised out of the very center and botamochi areas where the pot was fired on wads. I should also relate that this is a substantial and solid bold, it has weight and dimension that blend tradition and modernism together with craft and sculpture which when you think of it is exactly what I would expect out of the "new generation" of Bizen potter.

BRUSHING OFF THE BISQUE(WARE)

Despite the fact that I have pots on hand at most times it always seems that what people want usually has to be made and in this case it was mugs. It was easy enough to agree on for the order of eight mugs with a particular form, medieval style pulled roundish handles and the medieval green and temmoku glazes to finish them off, the not easy part was just needing to sit down and make a group of ten to get the eight. As luck would have it, once fired I ended up with exactly eight mugs that were good to go and then there was these two, new additions to the kitchen as they both ended up with small crawl spots within the footrings. When I am getting ready to fire a bisque kiln, I normally sand the feet smooth and then once out of the bisque I take a toothbrush and clean out the footring and in this case I left a small amount of clay dust which lead to the crawling. Though rather minor there was just no way I could send these out and since one can never have enough mugs in the house to use, no fair no foul. Despite the small issues with both, I was rather pleased at how the surfaces came out on all of the mugs and think the surface goes well with both form and handles. That being said, I will be a bit more careful next time I am brushing off the bisque.

TSUKIMI

I have written about Kakutani Hideaki in a prior post which gives the briefest glimpse in to this seiji and porcelain specialist. Residing and working in Nabari-shi, Mie Pref. There are some tell tale signs of both his teacers, Kondo Yuzo and Kiyomizu Rokubei VI but if you have seen enough of Kakutani's work, it is clear that he speaks with his own precise voice. There is a wonderful balance of perfection and clarity in his pots and this large celadon platter is certainly no exception, wonderfully thrown, tooled, decorated and glazed it is not that virtuosity that one admires but rather the lyrical, poetic nature of the incised and sculpted flowers that linger across the pale blue canvas as if peering through a moon viewing window interrupted by a solitary lotus tree branch.. Elements of Nihonga and Rimpa painting meet on this porcelain backdrop where decoration captures the very essence of the subject.  

I put together this very short video slideshow that hopefully hint at what is I think far more apparent in person than in the photo. As for the photos in this slideshow, roughly the first half is taken using an artificial light source which shows off what I think of as the actual coloration of the piece, the next group, the detail shots are using no light other than ambient room light. I thought that though the color is a bit inaccurate this shows off the details of the carving and sculptured overlay reasonably well. 

https://albedo3studio.blogspot.com/2017/02/sounds-simple-enough-on-paper.html

SEPARATED

I received this yunomi picture just yesterday and I really liked how the simple act of basking in the sunlight can really show off the character of a pot. This Oni-Iga yunomi was made by Tsukigata Nahiko and is quite frankly a textbook example and would make a great match to the one that I acquired several months back despite the fact that they are different and yet the same. In this photo the rich, iron lip shows well and is complimented by the normally dark black-brown glaze is brought to life in this lighting adding to the multiple personalities pottery inherits depending on how they are light and viewed. Though I have not handled this particular yunomi what I can say from past and present experience is that they are generous in form and scale, perfect for the task at hand with just the right weight and feel to make for that great blend of aesthetics and function. After taking the time to study the picture what I can say is that though separated by quite some distance this yunomi and mine make for a perfect pair.

https://albedo3studio.blogspot.com/2020/09/one-ping-only.html

OUT OF SEASON?

I threw a small group of covered serving bowls (CSB) last week, tooled them and then set them aside, well wrapped for over the weekend. First thing in the studio today, I unwrapped the CSBs and set about first carving the sgrafitto part of the design and then slip trailed the white dots to complete the snowberry designs on top and bottom and across the other pieces. I often wonder if there is a seasonal interest in certain types of design and decoration and I will assume as long as they are being ordered that they are not out of season. Once dry, into the bisque and then a thin clear glaze firing and that is all she wrote until the really fun task of packing them up and shipping them out. I guess I'll just live in the moment and remember that I like to throw and all the rest is just what it takes to get to that point.