TIME OF YEAR

I just finished packing a commissioned personalized “utensil jar” with the name of the soon to be owner on it. Personalizing, is one of the advantages of the carved slip or black & white slip trailed work. Once this piece is mailed out tomorrow, I am completely caught up with commissions and orders for the holiday season. Last Friday was the trek to CT to deliver work out to Wesleyan Potters (and to Nick’s a cheeseburger/onion rings) and last Saturday to Syracuse to drop off work at Eureka Crafts and to pick up some clay supplies at Clayscapes. Over the past several weeks, with trips to the post office and UPS, I have either hand delivered or shipped out quite a bit of work for holiday shows, gallery orders or individual orders and commissions. There may still be some odds and ends to finish, but from past experience, mostly smaller pieces (in terra cotta) to contend with, though I do remember a year where on Nov. 21st, I received an order for dinnerware, place settings for eight. Dinner plates, luncheon plates, soup bowls and handled mugs, all in painted terra cotta and needed to arrive before Christmas, that was fun.

Though it feels rather good to be all caught up, this is the period that happens every year in Dec. and Jan., the down time. This is not to say I am not making pots, though the first week usually revolves around cleaning the studio and doing a comprehensive inventory of materials and other supplies. As winter closes in on central NY state (we received about 6” of snow today!), it is important to get any materials I may need that can freeze and freezing temperatures are just around the corner hear. The studio management can only last so long and then back to working on tests and throwing, starting slow with teabowls and moving on to covered jars, teapots and plates. I may be finished with my orders and commissions, but based on the volume of sketches and notes, I am hardly done with what I want to make. Maybe in a lifetime of two, I can finish of what I have yet to do. Iguess the down time doesn’t have much “down” in it, after all.

On a side note, now through Dec. 25 I am offering a 20% discount on any pots made by me (mostly in the #4000 series) on my Trocadero marketplace. Please come by and take a look;

http://www.trocadero.com/albedo3studio/catalog.html

Illustrated is a carved black slip porcelain bowl with a modified bloesem design.

“I feel the greatest reward for doing is the opportunity to do more.” Jonas Salk (1914-1995)

PERFECTION

It is amazing to me that the concept of perfection could be such a broad and nefarious concept that for modern pottery, it could encompass the beautiful porcelain works of a Brother Thomas and the intentionally distorted and even misshapen works of Arakawa Toyozo. How is this possible? Over time, I have come to terms with finding perfection in objects that seem diametrically opposed, but at a conceptual sub-atomic level, in fact have much more in common that it would seem. Both ends of this perfection have spent their lives pursuing the pinnacle of their vision, the one making objects based on recognized archetypes of the classical realm, the other to create objects of organic, contemplative beauty born of the Momoyama era. One may find perfection in the intellect, while the other defines its perfection through emotion. Has either of these failed to reach the lofty perfection of their craft (art)? At either end, it is the refinement of the spirit of these pots that ultimately defines their perfection.


“If a man should happen to reach perfection in this world, he would have to die immediately to enjoy himself.” Josh Billings (Henry Wheeler Shaw 1818-1885)

IPOMOEA NIL

Illustrated is a very Rimpa influenced scroll painting and a pottery platter (hachi) by noted potter Wakao Toshisada (b.1933). Born and working in Tajimi, Gifu Prefecture, Toshisada is one of the truly gifted Mino tradition potters and is exceptionally well known for his Rimpa inspired Shino pottery, a style that goes back to the days of Honami Ko’etsu (1558-1637, Tawaraya Sotatsu (d. 1643?), Ogata Kenzan (1163-1743) and his brother Korin (1658-1716). The water color scroll of a Japanese morning glory (ipomoea nil) is reminiscent of paintings by Sakai Hoitsu (1761-1828) and his student Suzuki Kiitsu (1766-1858) who is particularly well known for his rendition of morning glories. Though it evokes comparisons to older paintings, anyone familiar with his work can see his hand in the portrayal and in the way the image fills the frame of the scroll as if he was thinking of it as a tray or platter.

This illustration of a ceramic hachi by Wakao shows how closely his paintings and pottery go hand in hand. This vivid Rimpa tray is glazed primarily in Nezumi-Shino with areas of iron slip showing through the glaze and painted gold accents to bring the design to life. It is truly wonderful to be able to see the scroll and pot side by side and get a glimpse into a potter’s creative process. Toshisada’s works are an exceptional addition to the Mino tradition and help usher the Rimpa pottery tradition well into the 21st century.

SIMPLE GOALS

“That is what I try to combine in my work; the right clay (Iga clay), the right temperature, the right fuel (wood).” A quote from Iga potter, Kojima Kenji when asked about how to achieve the correct look of Momoyama Iga-yaki.

It is a wonderful thing to have such clarity of vision and such highly thought out, yet simple goals. Kojima Kenji is a masterful potter, who’s modern Iga exudes the presence of the old (Ko-Iga) as well as the spirit of the new. His work is so casual and honest, that it born of his love and conviction to the old while living and thinking in the now.

Illustrated is a simple, yet exceptional Iga chawan by Kojima Kenji. The posture and rhythm of the bowl animate the pot and suspend it in perpetual motion.

“Nothing is more simple than greatness; indeed, to be simple is to be great.” Ralph Waldo Emerson (1803-1882)

UNE V-CUVETTE

Illustrated is a close-up of a recently fired V-bowl. I am rather fond of this particular form and it is the most thrown object I have made as a potter. Over the years, I have constantly been asked if throwing the same thing over and over again is monotonous, but how can doing something you truly enjoy be anything but fun. This particular v-bowl is glazed in my temmoku with a partridge feather iron glaze trailed over. If you look at the temmoku glaze, the background, you can see that the area is proliferated with small oilspot like effects and where gravity pulls at the trailed glaze, it is forming tendrils which are moving their way into the center of the bowl. You have to love gravity when it comes to glazes, not so much when throwing.

This V-bowl is very similiar to a bowl that I posted a video of me throwing for a previous blog entry. The video can be seen here;
http://albedo3studio.blogspot.com/2011/04/iptv-throwing-v-bowl.html

“Monotany is the law of nature. Look at the monotonous manner in which the sun rises. The monotony of necessary occupations is exhilarating and life-giving.” Gandhi (1869-1948)

HAIKABURI

Illustrated is a magnificent, thrown and squared yohen-haikaburi Shira-Hagi mizusashi by Ningen Kokuho, Miwa Jyusetsu XI (1910- ). Unlike most Hagi-yaki, this monolithic form mizusashi has a wide variety of color and texture from the use of a rich iron slip under the glaze, iron over the glaze and the results of an intense wood firing in which areas of the pot have been covered with ash as well as reducing areas of the underlying slip. As much sculpture as it is tea utensil (chadogu), this pot is a tour de force by Kyusetsu and aptly depicts why the Miwa “dynasty” leads the way among all of Hagi. The real brilliance of this style of pot was succinctly pointed out as having “prioritized form over function” by Miwa Kyusetsu XII (formerly Ryosaku), son of Miwa Jyusetsu (formerly, Kyusetsu XI). Once able to break away from the convention of absolute utility, this body of work has added a new vocabulary to the Hagi tradition. Today, Jyusetsu’s works act as a new, modern archetype for anyone interested in Hagi-yaki.

(From a private American collection)

ANOTHER STARTING POINT

Here are two (okay three) formulas for very nice base glazes (Cone 9/10) that come from Cleveland State University. I am not sure if they originated there, but well before I got there, they were being used as a jumping off point for a variety of glazes by a number of students. I am also including a formula that acts as an approximate substitute for Cornwall Stone. I used the 2001 base more frequently than the 1001 base and was able to come up with a large number of Cone 9 glazes. They are dependable and worth a shot. With the right base glaze, the possibilities are nearly endless.


1001 BASE
Cornwall Stone 75
Whiting 15
Gerstley Borate 10


2001 BASE
Nephaline Syenite 33
Kaolin 15
Whiting 20
Flint 32


CORNWALL SUBSTITUTE (Approximate)
Custer Spar 67
Flint 22
Kaolin 11


Illustrated is a large severely paddled, covered mizusashi form glazed in one or another of the base glaze concoctions that I developed at CSU.


“Results! Why, man, I have gotten lots of results. I know several thousand things that won’t work. “ Thomas Alva Edison (1847-1931)

WHAT HE SAID

“Use has many meanings. To hold and use something on a daily basis is one meaning, but display is also another type of use. Will (one of his pieces) be a display piece, or put away as a household treasure, or be physically used as a utensil? That is up to the owner. I try to make pieces that can play any number of roles.” A quote by Matsuzaki Ken from the book BURNING TRADITION


I can’t think of any potter that I know, have met and have read about, that didn’t have exactly this thought about the pots that he/she makes. At the end of the day, how someone uses a pot, is entirely up to them. I have seen mugs used as small planters, tumblers for pencils, pitchers as vases, covered cassorles used to store misc. objects from tacks to keys and I have even seen a Kawai Kanjiro chawan being used as an ashtray (it was rescued from that use!)! The use is all up for grabs and certainly the simple act of displaying a handmade pot is probably the most useful use of them all. The beauty of the handmade on display can only brighten up ones mood and make one’s environment, that much more satisfying. Go ahead, make my day, take a mug out for coffee or tea………….

"Beauty is not caused, it is."  Emily Dickinson (1830-1886)

MONDAY BLUES IV

For a long time I have been interested in making pots that are just on the verge of instability. Through trial and error, I realized that there is a fine line with these leaning pots and if they are ultimately to be functional, there is only so far askew that they can go. In the end, I figured if it works for a famous leaning tower in Italy, it can work in pottery. The two illustrated mugs were thrown round, cut, darted and end up with a distinct lean. The pair is terra cotta with slips and a Persian glaze over. Though neither leans that much, the really interesting part of these is that when filled with liquid, the liquid is level to the surface they stand on and the lips curve down to the contents. It presents a rather fun dimension to the mug and sometimes gives you the feeling the cup is moving. Probably the perfect cup for a different perspective, to start another week.

“I, not events, have the power to make me happy or unhappy today. I can choose which it shall be. Yesterday is dead, tomorrow hasn’t arrived yet. I have just one day, today, and I am going to be happy in it.” A Quote from the Zen master of innuendo, wit and sarcasm, Groucho Marx (1890-1977)

ELEMENTARY

Over the years, I have certainly watched more than my fair share of movies. From classics to modern action, I have a veracious appitite for the moving image. Among my favorites has always been film noir and the detective films with such notable characters as Philip Marlowe, Sam Spade and Shelock Holmes. I was particularly biased toward the 14 Sherlock Holmes movies made by Basil Rathbone, one of my favorite actors. Little did I know, all those movies would play into my study of pottery and pots.

“Elementary, my dear Watson”, what I am actually getting at is the detective end of things when a Japanese pot shows up at the door in its hastily inscribed wood box and no other information or identification. At the heart of this detective mystery is a modern Japanese chawan in its original box which is signed and sealed, but in this case, by whom? Many an unidentified piece has come my way over the years and trying to identify some of the potters is next to impossible and in fact, some are never identified. The research end of Japanese pottery has always intrigued me and armed with some essential tools, I set about doing the necessary due diligence.

Since the calligraphy on the box is nearly unreadable and the seal is in modified seal script, the first thing I do is translate out the description, which in this case was rather easy; ONI-SHINO CHAWAN. I know have a time reference as the term Oni-Shino originated in the early 1970’s with Tsukigata Nahiko. Next consulting the SHIN SHODO JITEN (a book on the various ways to write kanji), I find the first kanji nearly right away. After a few false starts, I am able to crack the second kanji and now have the GO (art name), in this case; SOSHU. I consult the GENDAI TOGEI SAKA-IYE JITEN only to find out he is not in there or in any of the other conpendiums I have. Well, when I have exhausted all my reference books, there is only one other option, check the internet.

Though I was extremely skeptical that the internet would yield information on what I suspected was an obscure potter, I was happily surprised when I stumbled on a single entry for the only name I had. The potter’s name is Kajiura Soshu (Shintaro), born in 1916. He is from Ichinomiya City in Aichi prefecture and studied with Hayashi Sekko and Kimura Giichi and is known to have been active through the Heisei era. Besides making pottery, he also did calligraphy and paintings. Beyond this info, it is possible to gleen additional info regarding his work, the chawan in question is obviously wood fired, with a level of skill that should indicate familiarity with that style of firing. As mentioned before, this bowl was definitely made after 1972 and indicates another potter working outside the conventional box of modern Shino.

It is very satisfying cracking the who/what/where/when conundrum in regards to Japanese art, but sometimes it is simply a matter of coincidence, happenstance, serendipity, plain old fashioned luck or cosmic confluence that you ever figure out who the artist is (was). This one goes in the win column, case solved.

Illustrated is the chawan in question, by Kajiura Soshu, circa 1975. The bowl is low and broad and the face is covered in naturally occurring wood ash over tetsu-yu and Shino glazes. The most amazing feature of this chawan is how light it is, considering the intensity of a wood firing. Despite its weight, it has not sluped at all with minimal distortion around the lip.