WALL STELE

Illustrated is a large stoneware wall plate that is loosely based on imagery from Homer's ILIAD and ODYSSEY. This piece was first created over an impromptu hump mold made of a bag filled with water and then incised and painted over in a grey-black engobe before the incised areas were inlaid in white. I have always been influenced by a number of the great, and not so great, classics favoring the Greek and Scandinavian sagas along with a wealth of 20th century fantasy and science-fiction. The tales of the ancient Trojan Wars seemed rather appropriate in the ishime style which came about as a way to "mimic" ancient stele (stelae), used historically to tell the heroic tales of great individuals among a myriad of other uses across numerous countries and civilizations. Though intended as both a functional and decorative piece, it is the narrative that is the focus of this piece that was my primary goal.

A WEE DRIP-O-GREEN

As far as bidoro goes, it doesn't get much better or greener than this. Like a rich and valued emerald gem fresh out of the ground, this luscious drip of bidoro like many, defies gravity and is forever frozen as a reminder of both the process and method in which it was fired. This close-up is from a simple, yet elegant and noble yunomi by the late master of Shigaraki pottery; Tsuji Seimei. Like a fine gemstone, this clear and defined drip can be quite a rarity and for Tsuji Seimei, it was just another day at the office.

I thought this emerald green droplet would be a great way to remind everyone that today is St. Patrick's Day and though I am not Irish, it is a great day for a good Irish beer and a telling of a good Irish tale, THE QUIET MAN is as good as any.

SPIRALI

Illustrated is a teapot with paddled sides, creating flat panels which are excellent for decoration. Glazed in the same fashion as the Wave Length vase, this teapot was decorated with spirali (spirals) decoration on the panels on either side and the lid. The form of this teapot, with and without the paddled sides is one I like quite a bit, the recessed gallery lid and the way the handle is attached to the mouth allows me to push a thumb rest into the top of the handle which protrudes just a bit in to the mouth and keeps the lid from falling off the pot. In other words, the lid has to be put on and taken off at a slight angle to get past the thumb rest. As you can probably tell, the glaze, used thin was first dipped and then additional glaze was poured over the pot adding some additional interest to the surface where it ran up the pot. Made to be strictly functional, the design, decoration and glazing all followed that premise with the goal of being both enjoyable at work and at rest.

INKED LUGS

Illustrated is an ink painting of a lugged Iga vase with a small tree branch and calligraphy by noted veteran and "old school" potter; Konishi Heinai II (b.1928). I have written about Konishi before who is well known for his passionate dedication to creating both Raku and Iga pottery, both of which he pursues in a decidedly old style of creation. Melding together older Momoyama and early Edo sensibilities with his personal interpretation of those traditions, his works are exceptionally unique to his own voice and vision. This small format shikishi shows the same individuality as his pottery with crisp and simple brushwork and his brusque style of calligraphy which adorn his boxes as hako-gaki. It is this uniqueness and simplicity of this painting and indeed his pottery that makes Konishi Heinai II so admirable in an age when many have given up on traditional aesthetics and the creation of simple, beautiful pottery.

UNITY

Lugs, ears, mimi, what have you, have been used to accentuate and decorate pots for almost as long as pots have been made. If you think back to the fantastical and functional lugs of Jomon vessels, the concept has certainly been a part of Japanese pottery from a long while. Lugs on woodfired pots, in particular, help define, unify and accentuate the forms as well as acting to trap ash or create pathways for the ash and flame. For the pots of the various distorted, weathered and rustic pots of Iga, Bizen and Shigaraki the attachments need to compliment the form in attitude, posture and strength which is a bit easier said than done. Like a mediocre foot on a fine chawan, lugs can easily ruin a strong and well fired form; Kermit the frog style arms on a solid, purposeful form comes off as timid and almost feeble, yet this is far more common that one would think. The ultimate goal of such attached clay is to create a complementary anthropomorphic form without appearing superfluous or contrary to the pot.

Illustrated is a strong, wonky Shigaraki style vase with overtones of whimsy and modernism by the master of combining tradition, playfulness and purpose; Suzuki Goro. The wonderful form echoes the human form with undulating neck appearing to be held in place by the strong, arm-like lugs as if Alice in Wonderland had first visited Japan. The parts of this vase all work well to create a form that has a whimsical sense of movement which accentuated by aggressive marks and rich hi-iro and ash. Created by an innate understanding of form, clay and firing, Suzuki recognized the importance of putting together strong elements that cease to be just pieces parts and create unity as a strong and impressive pot.

SQUARE DEAL II

I have seen square form kinuta vases before, mostly older Chinese pieces and late Edo and Meiji Period Japanese examples. The coil built and thrown and altered examples seem to be mostly 20th century as far as I can tell, though I am open to evidence to the contrary. The modern "squared" kinuta are seen frequently, but not exclusively in Hagi and Bizen though in each case the forms differ quite a bit and move as far afield from the archetype as possible, maintaining enough of the characteristics to be recognizable. The illustrated Bizen vase was made by Kaneshige Michiaki in the 1980s. It was thrown and the form squared up using ribs and scrapers to define the geometry of the piece. The creative process is written all over the form where scratches add unintentional decoration to the pot that is completed with hi-iro, ash and bota-mochi areas where flame and ash were denied access. I find the totemic form exceptionally stoic and determined with a purity that is defined by lines and planes that are casual and weathered; the perfect blend of the Momoyama aesthetic and modern design.

BASICS II

In every firing, I try to go back to the basics with a few pots and my medieval green and temmoku combination is just that. Though I am sure some will point out the inconsistency of these pieces as a set, I made the strap handles for the mugs and the pulled round handle for the jug rather intentionally. I am not sure how easy it is to imagine, but this particular jug shape with a strap handle looks quite different than the appearance I was after which is based on an older style pot. The use of this glaze combo is meant to have the old atmosphere of medieval galena glazes as well as its counterpart from Japan seen in Oribe glazes. The goal of both jug and mugs was to be designed with an economy of form, meant to create strictly functional pots that hopefully are as enjoyable to look at as they are to use. I can only hope that if I make another thousand mugs and half that many jugs, I may just satisfy both of my goals.

"A goal is a dream with a deadline."  Napoleon Hill (1883-1970)

BLUE MONDAY XVIII

I know it must seem that I seem to gravitate to the same potters over and over again. Truth is, I have really broad, eccentric and diverse tastes when it comes to pots (music and movies as well) though less so when it comes to food! In terms of pottery with blue glazes, there are actually not that many that I really enjoy beyond the Kawai school gosu, Kato Takuo and Kobei VII, Kato Kenji and a handful of others. It is most likely for this reason that I tend to focus on a select group for these "Blue Monday" posts and this one will be no exception.

Illustrated is a large Raqqa (toruko-ao) influenced blue vase by Kato Kenji. Thrown round and then the mouth formed in to an hexagon, the pot was decorated with his trademark black decoration which has run a bit blue at the lip. The wonderful flared mouth is complimented by small pierced lugs on either side of the vase that along with the geometric patterning help define the form and its graceful stance to near perfection. I am drawn to the skillful throwing, simple lines, well executed decoration and honesty of the pots of Kato Kenji which snake along some imaginary timeline of the Silk Road that has found its way to Japan and become just as much Japanese as Persian in the hands of this thoughtful and enthusiastic practitioner.

I suspect this vase was made in the early 1980's and I thought this tune somewhat appropriate, the1983 classic Blue Monday by New Order.

ALTERING GEOMETRY

Illustrated is another paddled vase flanked with four flat panels. This vase was glazed in a crystal rich kaki and the spirals and the neck of the piece are glazed in a deep black that has oil-spotted over the spirals. The lugs both correspond to the points where the panels intersect and add a bit more to the profile of the vase as well as aiding in animating the posture of the pot. As I already have mentioned, I like making these vases, it allows me to throw a piece and then with a few additional movements create a form that is "out of round". It is this simple act of altering geometry that interests me in these pots and the right decoration ties the flat surfaces back to the original thrown form rather well.

"There is geometry in the humming of strings, there is music in the spacing of spheres." Pythagoras of Samos (570-495BC)

PAINTED WITH FIRE

This Shigaraki kinuta vase is by Furutani Michio whose construction of the pot, placement in the kiln and exceptional firing have created a lyrical pot that is literally "painted with fire". Like the sun rising over some distant mountain range, this mallet vase is all about landscape, literally a painting in three dimensions created by bare tsuchi-aji, natural ash and hi-iro. Furutani is arguably the best potter to use an anagama from both Iga and Shigaraki pottery during the 20th century. His works builds on a medieval tradition and it is his sensitivity to material and fire that has left a body of work that present such phenomenal blend of katachi and keshiki (form and landscape surface). Given the large number of these forms that Furutani has left, he must have had an affinity and comfort with making them with each one proving to be an exercise in form and foresight as to how and where they would be fired. These simple pots present a narrative that is weathered and understated and though created in the chaotic atmosphere of the anagama carry a tranquil and eloquent tone that will inspire for many generations to come.