OUTSIDE THE LINES

I am not sure why, but I truly enjoy the eccentrics in Japanese art. The bravado and daring to follow an eccentric vision interests me and the idiosyncratic nature of the work is a lure, a beacon while standing outside the traditional convention of the field. The only drawback to the work of the eccentrics is that their appeal is mostly limited to those who also enjoy work outside of the norm and bucking convention. Over the years I have been drawn to the likes of painters Murase Taiitsu and modern painter Sato Katsuhiko, while the pottery of Isamu Noguchi, Tsukigata Nahiko and Kumano Kuroemon has managed to get my attention. It is the uniqueness and innovation of the eccentric artists that is captivating in technique and spirit. I say uniqueness, but in reality, most of the eccentrics use traditional idioms and through dedication to their vision bend them to their own by working outside the lines of convention, creating something entirely new, bold and pivotal to their art. In the end, I see the eccentrics as the pioneers who, like an engine, drive and help propel the possibilities of their various pursuits.

Illustrated is a guinomi by eccentric and dedicated potter, Kumano Kuroemon. The guinomi is simple in form with a surface that narrates the violence of the firing in which a thick coat of melted ash coats the Shino glaze creating a surface that looks like frozen ice complete with fissures and drizzling tamadare style ash moving down the piece.    A side affect is part of the real beauty of these eccentric works, the surface has a luminescent quality to it and depending on the light source, the viewer is seduced by its unique presence and power.              

BLUE MONDAY VIII

Back in the mid-80's, my wife and I became acquainted first hand with the works of both Morino Taimei and Miyashita Zenji (1939-2012) through Joan Mirviss in New York; since that time, the two have remained among our favorite non-traditional ceramic artists. Sadly, Miyashita Zenji passed away this year, his absence will certainly leave a void in the field of sculptural ceramics of which he was among the best. The works, based on what would appear to be a simple idea, was an achievement in technical skill as well as a mastery of form. His unique sensibility brought his ceramics into motion, animated with various hues and all of those crisp, torn edges, stacked one on top of another creating a narrative that brings the viewer, round and round the vessel.

Illustrated is a close-up of a vase form by Miyashita Zenji that is like looking into a distant landscape of row after row of mountains at dusk, the starlight barely illuminating the ranges in varying hues of blue. I am reminded of the landscape paintings of Fu Baoshi,  though there is so many things one can see in Miyashita's work, the possibilities are endless.

"After you cross the mountain, more mountains." An Indian Proverb

IN THE SPIRIT OF GOJO-ZAKA

Of all the students that Kawai Kanjiro taught, there is one standout who managed to infuse his master's syle with his own unique vision and that was Kawai Takeichi. Kawai Takeichi, also Bu'ichi, (1908-1989) was both nephew and student of Kawai Kanjiro spending a long while as student and assistant to the master. For a time, Takeichi also assisted in instructing the apprentices at the  studio and kiln at the studio/kiln in Gojo-zaka of Kawai Kanjiro.  Though his work has that distinct Kawai-mon (Kawai school) flavor and is at times mistaken for the work of his master, if you see enough and study the works of Takeichi, it is rather easy to see the differences between master and student. Takeichi had a son who has gone on to make pottery, KawaiToru (b.1941). Toru  studied first with his grandfather, briefly from 1964-1966 and then with his father. Toru's works differ quite a bit from his father and grandfather though it still bares that distinct Kawai school flavor. There is absolutely no gosu blue, like that of the Kawai school.

Illustrated is a wonderful, Chinese influenced mizusashi by Kawai Takeichi glazed in a soft and streaked Chun glaze with vivid accents of purple boiling up through the surface. The edges of the mizusashi have been effected to help create a frame that encapsulates the form and it is done to great effect. This mizusashi clearly illustrates the style of Takeichi ,created in a mold and is much more straight forward form than those used by Kawai Kanjiro. This is not to insinuate that Takeichi was less imaginative, but rather the path he decided to espouse was based on, but not copying that of his master.

THE DAY AFTER YESTERDAY

We woke early, though sleeping through the howling freight train gale of Sandy was tenuous at best. Our quest was to go out and find some ice as we had been without any electricity for nearly 12 hours and we had a freezer and frig full of perishables. Ice and coffee secured, the winds now diminished, continue to blow, spreading debris, leaves, branches, trees and misc. everywhere. As we arrive back home, the sun is trying its best to peak through the angry clouds with flocks of geese making their way southward as a solitary large badger skulks back toward the woods, his nocturnal foraging interrupted by the rudeness of Sandy.

We had taken the precaution of packing the freezer with jugs of water, now frozen and added bags of ice to the refrigerator, hoping that power will be restored soon. All in all, despite downed trees; home, studio and car rode out the storm and have fared well. The convoys of power grid bucket trucks and utility vans headed east, give some solace that the power outage is being addressed. I am rather tired of all the storms we have gone through in a number of locations and moves ago and I am seriously wondering if there are any abandoned nuclear missile silos within commute of my wife's work. After all, potters can work just about anywhere.

(This was written at 7am on the morning of 10/30/2012)

As a postscript, the power finally came on at about 1pm (10/30). I had decided to begin glazing on another kiln load of pots in the semi-darkness and the addition of lights was more than appreciated. Food stuffs in freezer and frig also fared well thanks to some careful planning. As one can imagine, life without electricity has its pitfalls, but I must admit, I certainly got more stuff done this morning than is normally possible with the distractions of computer, CD player, TV and hot water!

STORM WARNING

We are in the depths of Fall here in the Mohawk Valley, the trees that partially obscure our view of the river in the valley below are almost entirely bare, the color and leaves all but gone. For weeks now it is common to see huge flocks of geese making their way south, but that has changed in the past day or two. Now we see geese in pairs, small groups and flocks of hundreds making their way back north as the skies are filled with clouds and the wind is picking up, but by late afternoon, no more geese. There is a storm coming and though Sandy is not likely to be as bad in our area as along the coast, we are weary of the high winds, heavy rainfall, flash floods, snow and possible power outages. We have made every precaution possible, moving anything not nailed down into the garage to avoid flying debris of our own making.

As you watch the weather, the ominous storm reminds me of the view from space that was in the movie; THE DAY AFTER TOMORROW. It looks imposing and we are taking it seriously. We have stocked up on necessities and will ride out the storm and hope the shelter of the area lessens the impact. Though I am in the midst of glazing and firing, I am going to put off both for a few days and hope it doesn't put me too far off schedule. With the wild predications and forecast, better safe than sorry.

Here is a bit of levity and perspective given the impending doom that is forecast;

TANI-SAN II

Traveling through the ether of the internet, I stumbled on a rather nice vase and thought it worth sharing. This vase is the epitome of medieval styling and showcases the classical firing that is Ko-Shigaraki . Obviously patterned after a historical archetype this hanaire by Tani Seiuemon is picture perfect with a wonderful green glass ash flow cascading down the face of the pot acting as a permanent reminder of the flame and the potter. This is a much better representation of the work of Tani Seiuemon than are the three kogo I posted recently!

FORM

It is not necessarily an easy thing to admit, to come face to face with, but I have an addiction. I am a form addict, a form junkie if you will. It is forms that first capture my attention, not material, not surface, it is the form that first communicates with me on an intellectual and very visceral level. The stronger and more honest a form, the greater is the attraction. Over the years, I have come to understand how it is that I can love a wonderful seiji vase and an Iga mizusashi with equal enthusiasm, the common denominator is the form and how it commands space and the volume it struggles to contain. The form is also the seeming contradiction between the exterior, which is laid bare and the mystery of the interior. Add to this that each form can act as a metaphor for whatever the mind conjures; so what could really be more important than the form of a good pot?

Illustrated is a paddled vase that speaks about form accompanied by decoration and happenstance. This Mashiko vase was made by Shimaoka Tatsuzo (1919-2007) and the strong and purposeful form was decorated with his impressed rope decoration and then the pot was placed in a salt fired wood kiln with each facet of the pot complimenting the other. Without the great form, the surface and firing would have been for naught, but in this instance, all coalesce to create an exemplary pot.

MORE COPPER BLUE

A few years back, I decided to try to develop a clear glaze that would fire to cone 02 or there about with the sole purpose of using it as a base for colored glazes. I would add red iron oxide, cobalt, copper and manganese carbonate & cobalt to try to produce an amber, blue, green and purple translucent or transparent glaze. The other criterion was to use frit 3124 instead of 3110 as I have inherited quite a bit of the 3124 and using the 3110 on a regular basis was getting a bit costly. The base glaze is composed of 3124, flint and ball clay with the additions of the various colorants to produce a good transparent, rich surface. The plus side to developing these glazes was; it is easy to fit small colored glaze pieces into the kiln when I am firing terra cotta and the pots look quite a bit different than the Abstrakt Resist, carved Tebori and black and white slip works.

Illustrated is a terra cotta teabowl that was first decorated in black and white slip and then glazed over in a copper blue glaze and fired to cone 02. The verses pattern under this glaze gives it an entirely different look and feel then when done in my Abstrakt Resist.

PRESENTO

Over the number of trips we have taken to Japan, one of our go-to places was always Shigaraki. We were fortunate to meet with a number of the Shigaraki and local potters over the years and in doing so, we always made a point of visiting with Tani Seiuemon (b.1913-d.?). His studio was not far at all from the train station and he had a wide array of Ko-Shigaraki style pottery which he was dedicated to producing. His pots were warm, genuine and inviting. Having built an anagama in the early 1970's, his work maintained a consistent medieval quality to it and from my perspective, his work is easy to recognize. Together with his son, the current Seiuemon, the studio produced everything from utilitarian pots to those for tea ceremony. Illustrated are three Ko-Shigaraki style kogo made by Tani-san and given to my wife and I over three trips to his studio, each with their own box and wrapped to survive their trip back to the US. We could not have asked or dreamt of a finer presento from our visits to Shigaraki and the home and studio of Tani-san.

LAST BUT NOT LEAST

I think that I can finally say, I made my last piece of terra cotta for the time being to satisfy some upcoming shows and for gallery restocks. It seems like I have been locked in a mock battle with the red menace for a long while and I can't say, I am sorry to be done with the making end. I still need to get pots dry, decorated, bisque, glazed and fired and barring any unforeseen hiccups, fait accompli. I know it sounds like everything I say about terra cotta is disparaging and negative, the truth is, as a clay and the various techniques I use with it, when it is well behaved, I enjoy its properties and the degree of control necessary to keep it from gaining the upper hand. The other day, after throwing a group of pots, I was rather sad to stop as the throwing had gone so well and it is easy to get lost in the moment when throwing. It was enjoyable, but now with a studio filled to the brim with pots in varying stages, the last, but not least of the pots has been completed.

Illustrated is a long, 20", terra cotta tray, black slipped with a carved pattern overall and accents, maybe punctuations of white slip. Once bisque, the tray will be glazed in a clear, from my table to yours.

"Like the bee, we should make our industry our amusement."   Oliver Goldsmith (1730-1774)