USE IT OR LOSE IT

My wife and I use quite a few handmade pots around the house from extras and seconds I have made to pieces I traded for or got as gifts over the years but to be honest, there are quite a few pots that I just can't bring myself to use. From some collectors who pitch a use it of lose it sort of argument the thought is that pots are all meant to be used while for the most part I consider myself a curator of these pots that either end up here or are just passing by meaning to pass them along exactly as I found them. That being said I do have a small group of pieces that are more than just utilitarian pots for daily use that in use bring so much more to the experience and this picture highlight a couple of pots that get some good amount of use. 

On the left is a Shigaraki guinomi that was a gift from Kohyama Yasuhisa many years ago and though I use it from time to time it is one of my favorite go to pieces as I really enjoy the look, the physical characteristics of the piece, the texture and the volume which in this case is perfect for just the right amount of Maker's Mark. On the right is another gift, this one a porcelain glazed "cup" from Warren macKenzie which in this case is just perfect for a small handful of peanuts, low sodium of course all watched over by Godzilla Ultima. I know I have had these pieces up separately on my blog in the past but I thought this would give a sense of the two pieces in action proving these cherished pots are more than perfect for the task at hand.

PORTRAIT OF SPRING

I received this picture, a portrait of spring if you will the other day and as things are just barely starting to bloom here in the Mohawk Valley it was nice to remember what the season can look like. This singular magnolia branch adorns a rather rustic vase by Kumano Kuroemon making for a completion of purpose for vessel and foliage. The presentation is a bit sparse, a necessity to keep from totally denuding the owners magnolia but it is still quite sufficient to show off the aesthetics of Kumano's early glazed pottery together with a solitary gift from nature and its fleeting companion. 

As to the vase, it is clear to see how purpose and function was built in to the form, the base is strong, sturdy and has enough mass to remain upright under most reasonable arrangements while the tapered mouth keeps the branch from "flopping" and weakening the center of gravity and spilling the contents to the tatami underneath. The neck/ mouth and lugs are classic Kumano whether the pot was made 30 years ago or today adding just the right amount of anthropomorphic gesture to a vase that already possesses vertical and horizontal movement, attributes this potter is rather good at. Like the branch, the vase is simple enough and it is the colors, textures and character that though subtle at times, paints a provocative picture of function and tells its fullest story in its everyday use.

"I hear the wind,

Rustle the magnolia branches. 

The scent of spring."

IN LIBRO

Illustrated is two versions of the same pot, an E-Shino chawan by Kido Sadaaki, one bathed in sunlight and shadow and the other as it was photographed for its inclusion in the book; HAIZUKAGAMA ; The works of Kido Sadaaki (Heisei 20, 2008). This chawan is a modest size with large swaths of a pure white Shino glaze that is interrupted by iron decoration on the front and back balancing the form and though round creating four distinct planes circling the form. The lip is quiet but undulates just enough to break up the termination of the bowl all the while perched atop a pedestal style foot that is notched adding a hint of mystery and shadow to the area. Perhaps one of the more interesting characteristics about this chawan is that despite its reliance on traditional forms and surfaces there is a distinctly contemporary appearance to this chawan, a modern spirit with a surface in motion conceivably moving to tomorrow.

SLOW GOING

When it comes to making pots just for testing glazes/ surfaces and working out ideas, not to order it can take some time to get enough pots together to fire a kiln load. After the holidays it is usually slow going but have small commissions and even some dinnerware orders has keep me busy even though Jan is not a good month to make pots in my studio. Between being too cold and things drying rather unevenly and warping I tend to limit Jan. to testing, cleaning, organizing and figuring out what materials I need to order. This year has been no different and as smaller orders, resupplies and dinnerware orders have mostly been for terra cotta, on the odd occasion I have been throwing the odd piece of stoneware and porcelain and letting it build up as I find space to bisque it. The bulk of my throwing during any cycle tends to be in the afternoon where I may make up to 30 pieces or so, they are left uncovered until I go to bed and then uncovered early and tooled in the morning, hopeful finished before lunch and then back to throwing.     

The photo shows a group of smaller pots, many of which started out as reclaimed clay or kiln fillers that have now been bisque and are waiting for more pieces to gather before I think about glazing and firing a kiln of pots. Besides what is in the photo there are several more teabowls, the group of guinomi to go with the bottles, several bottle/vases and some serving bowls that need to be bisque yet. Adding to what I have and need to bisque my plan is to get a group of "larger" pots made; mallet style vases, some serving pieces, several jugs and a few larger covered jars and then I will have pretty close to a kiln load. At this point, I'll just have to see how things go, as I said, it is pretty slow going.

BUSHI

When I first saw this Bizen vase I was immediately reminded of all of the various Haniwa earthenware funerary figures I have seen at various museums across the US and throughout Japan. The poise, character and posturing of this vase specifically reminded me of the armored Haniwa figures where the forms emulated the ancient armored warriors of the Kofun period, standing defiantly and with bravery and honor. I am not sure if that was the intent or inspiration of Kakurezaki Ryuichi when he began making this particular form but the association is inescapable to my eye and brings the ancient traditions of the Kofun era Haji-yaki and Bizen pottery full circle and colliding directly with the abstraction of modern yakimono of the 20th century. Like the abstracted sculpture and vessels of Suzuki Osamu, much of Kakurezaki's works have both overt and subtle features that call to mind various elements of the old while treading the razor's edge of modernity, adding sculptural gesture to the sweeping historical precedent of Bizen pottery. Though this particular vase is mostly traditional in origin it is the hidden and subtle details that creates a vessel that is both tethered to the past and working overtime to break those constraints. This is a simple vase, with simple details, well crafted and well fired moving one step further along in the evolution pathway that makes Bizen a living tradition. I hope this short video slideshow sheds a bit of light on what this Bizen vase looks like in person.   

EARTH & FLAME

There is something always rewarding about an encounter with a nice Iga pot by Kishimoto Kennin, like a chance encounter with tradition that nourishes the soul. This particular large Iga chawan was made in the 90s and blends tradition, classicism, restraint and potter's journey in to a bowl that is both finite and limitless as the very same time. Thrown out of a coarse, included clay this bowl has elements of various archetypes wrapped around an individual's vision to create a solid, study form worked with care to create a lip that captures the eye without being a distraction and various spatula marks and subtle combing (kushime) to articulate the form and act as the under-painting of what was to come once it was wood fired. A majority of the chawan is coated in a semi-dry layer of ash that allows the potter's marks to show with the addition of wet ash at various points both outside and in creating glistening highlights the complete the painting of the bowl, now framed by shadow and negative space presenting a rather quiet pot .

Though simple in form and surface, there are subtleties that bring the bowl to life and move the traditional in to the light of the modern, this is one of Kishimoto's real talents as a potter where past and present meet creating the synergy of a tradition with the spirit of the modern age. It is comforting to know that Kishimoto Kennin thought highly enough to place this chawan in his EARTH & FLAME exhibition at the Takashimaya Department Store gallery in which the chawan and the interior are well illustrated. Though the inclusion of this chawan in the catalogue in no way makes the inherent nature of the bowl any greater it is interesting to get a glimpse in to the mind of a potter and see how he rated a singular pot and then how it fits within the group he choose to exhibit around it, or with it.  

 

A TYPICAL MONDAY

Today was one of those days were I honestly don't feel like I got much done even though I did in other words, just a typical Monday. I spent the day on "replenishing" duty; black, white, iron and copper slips and several glazes including temmoku, Oribe (latest version), ash glaze and the iron yellow. It is positively crazy how fast time can go by as you measure and mix to wet all of these formulas leaving me feeling like I didn't really get when in fact I did get exactly what I had planned done. On top of the replenishing efforts, I got thinks cleaned up, sorted out and put away as well as packing up two packages for tomorrow's post.    

Last but not least I got three mayo jars filled up with ready to use thick, slurry slip from stoneware slop. In this older photo you can see the recently applied combed slurry slip on a stoneware teabowl that was later glazed in an Oribe glaze with a bit of iron added to the surface. Sorry for the mundane details, no one ever said that blogging would be nothing but non-stop excitement and at the end of the day, time is short and things just have to get done.  

"A difficult task can be done immediately, an impossible task requires a bit more time."  George Santayana

EXCUSE ME, HAVE WE MET BEFORE?

Illustrated is a great detail shot of a Tsukigata Nahiko Oni-Shino mallet vase. I think it is quite evident why I am fascinated with Tsukigata work, there is an undeniable complexity to the surfaces through his carefully crafted use of clay, glazes and firing process which yields a wealth of effects and styles. In this case, the surface has a wonderful, cascading area of coalesced iron that looks like a universe of copper flecks frozen in time creating a shimmery and luminescent region which is occasionally interrupted by the active flow of natural ash that built up on the pot during the firing. In the depression of the ash has pooled creating a wonderful visual landscape of olive toned ash bordering the molten green, fractured bidoro which is doing its very best to spill over the sides and run down the pot. Though Tsukigata Nahiko was exceptionally well known for his vivid oil paintings, it is these painted surfaces that I am pleased to converse with, the narratives presented are evocative, palpable and linger in the mind making these pots a wondrous pottery koan, provoking both the eye and the mind.

A HAPPY COUPLE

Obviously following in the footsteps of his master (Kakurezaki Ryuichi), this graceful set was made by modern Bizen potter, Oiwa Tomoyuki. This photo was provided by a European collector who likes to assemble sets, carefully selecting, collecting and curating his collection that like this set clearly shows a conscious eye and in interest in modern, sculpturally oriented pieces. Like his previous animated sets by Fukushima Kazuhiro, this set is also in movement though more like a spire, emerging from the surface while the liquid ash runs down the vertical surface painting the angular planes like an abstract canvas with a solitary drip hanging off the mouth like a beacon from a watch tower. The sharp angles and vivid, faceted and jagged cuts breath life in to this rising form while the singular guinomi accompanies its tokkuri  wrapped in a soft and seductive layer of ash and a sharp yet inviting lip is ready to be impressed in to service. 

At first glance the angular tokkuri and soft, simple guinomi may seem an incoherent match but as opposites often attract each piece is created with a singular purpose in mind, one to pour and one to accept the beverage clearing showing the creative diversity of the potter as well as the necessary mechanics of function. Whether in use or occupying a humble display, this pair is clearly like a happy couple who in their differences compliment and balance each other out perfectly.

ALL WHITE

I decided to show this mostly all white bottle from long ago and far away against two different backgrounds to try to show the characteristics of both the slip and glaze on the bottle. I have been playing with making kohiki style pieces on and off for a very long while and this is one of the pieces from a distinct batch that I fired in particular as each group changed depending on the nuka and wood ash sources. The slip is a heavy kaolin based recipe that goes on the pot at leather hard, bone dry or bisque and the clear is made of a combination of nuka and wood ash making for a nice surface. As you can see in the photos, the pot was dipped in the slip and then I poured a small amount around the pot while holding it upside down to encourage the slip to run toward the neck and mouth of the piece. This gives the pot a little more interest and makes the surface appear to defy gravity just a bit. At the end of the day it is a simple bottle with a simple surface and minimal decoration but I think it would look nice with a big red bloom in it; Rosanjin may be right, a pot in use is a complete pot.