NEXT CYCLE?

Well at least this one isn’t green (Oribe) though it is from some time ago and I am pretty sure I have used this bowl before though now rephotographed. I was going through my broad feet stage and this one was a handful, large bowl shape with a large, tapering foot. The body of the bowl isn’t too thick but the foot adds real weight to the form, something a collector I know would immediately find disqualifying. Though this bowl owes some of its inspiration to Kawai Kanjiro, the shape of the bowl itself was based on an old Japanese lacquer piece I had seen. 

The teabowl is glazed over in my temmoku glaze and then was dipped in an iron red that was quickly combed with my fingers before the surface could dry. The effect is a bit obvious where dark tendrils of color mingle with the droozy, running iron which always reminds me a bit of the partridge feather technique. One other feature worth mentioning is that the bowl is punctuated in small, reflective iron crystals that just cover the surface of the glaze, a nice little bonus to the overall runny effect. Every time I come across this picture, it reminds me I need to make a few more of these pots instead of treating them like they are in the rear-view mirror. Maybe next cycle?

JUST ANOTHER VASE

 

Illustrated is a tall, conservative E-Shino hanaire by Hori Ichiro. Thrown out of a buff, mogusa (?) clay, the casual form shows off its pronounced throwing marks and is sub-divided by a rough and perfectly placed should that defines the body and neck of the pot. The face of the pot was spontaneously decorated with a grasses design which it is clear that Hori has completed countless times before, all leading up to the rather serendipitous glazing where the interplay from thicker to thin and the running Shino all enhance and quite frankly create the rather feudal appearing landscape.      

Though just another vase at some level, the final appearance makes for a rich surface where the underglaze iron, the purity of the white glaze and the various other cast of characters work in perfect harmony to make for a Shino vase that to my eye is quite unique or perhaps idiosyncratic to Hori Ichiro. In thinking about the general field of the modern Shino tradition, there are a number of potters who have developed rather unique looks from Kato Kozo to Suzuki Goro with Hori fitting into that group who have decided to use the past and their inner voice to unlock the potential of a specific orthodoxy allowing it to be present and help move it along, one pot and firing at a time. To this task and within the categories of Ki-Seto, Seto-Guro and Shino, I think few are as up to the challenge as is Hori Ichiro.

FIVE FOR FRIDAY; FURUTANI MICHIO

Besides his expressive smile, when I think about or talk with other collectors about Furutani Michio what normally springs to mind are his slab henko of varying sizes and surfaces that are all as expressive as the maker himself. My understanding and correct me if i am wrong is that Furutani Michio did not solely come up with the idea and form of these henko but there are extant examples made in the Valley and of course made by other potters subsequently but none embody the spirit, tradition and traditional firing as he was able to infuse into the local clay. Though there seems to be a most frequently created size, the standard henko if you will, the forms all vary in proportions and yes even the scale from rather small to quite large and imposing in their presence. Though there is a constant commonality to this body of work what really sets these pieces apart giving voice to each unique creation is the varied firing effects and styles that end up painting each one and presenting its completed narrative and these range from almost quite fire color, hi-iro pieces with just a dusting of ash here and there which many time surround resisted, almost botan-mochi style resists to full blown heavy ash and charcaol covering the surface like a testament to the ferocity of the fire and the will to survive. 

Each of these henko are unique and expressive tied together by a creative idea and force that exploded from the mind and dedication of a potter, Furutani Michio who will forever be remembered as part of the very tradition he championed without how, the Shigaraki Valley would have been a much different place.   This group of Shigaraki henko were all made at varying times by Shigaraki/ Iga potter, Furutani Michio mostly ranging from the mid-1980s up until 1999, as you can tell these are not my photos but come from a number of exhibition catalogues on the potter.   

My intent in choosing these particular pieces was to showcase the diversity and commonality of this body of work and admittedly I choose pieces that I have the strongest affinity for and I make no apologies for my bias. I should also mention though I have seen and handled nearly two dozen of this henko form and photographed most of them, however I choose to use examples that Furutani Michio choose for his exhibitions acting as de facto, undisputed ideals of this form from the potter's perspective.    

Though most likely highly subjective, this group starts out with the henko that most appeals to me, it is filled with power and conversation and the proportions are ideal and the wood fired landscape portrays a soft, semi-abstract landscape as the coloration changes from the running ash to charcoal bed effects. The additional four pieces were culled from dozens of possibilities, pieces I thought gave an insight into Furutani's henko forms, pieces that showed off surfaces and proportions and yes, to be honest pieces that I like and make my Friday even more enjoyable.

COG-WARE

In some ways these small covered “COG” boxes were designed as filler but since they are bigger than teabowl generally speaking, I think I make them because I like making lidded pieces. This stoneware COG box, part of a limited group referred to as cog-ware was thrown out of stoneware and had white slip applied and then a fresh coat of soda blue to finish it off. All in all this is a rather simple idea and form but I think when you add in the carved furrows the glaze brings the piece to a more intriguing pot and after all, it is a daily reminder of how we are all just cogs in this giant cosmic machine we call life.

 

CUSTOM-TAILORED

A bit on the larger size, this yohen-temmoku guinomi is a wonderful contrast between the deep, rich dark interior and the iridescent, rainbow effect border that forms the lip. Made by Sasaki Yuzuru I am constantly amazed at the depth and variety of the surfaces he produces from iron rich temmoku to exotic Ki-Seto tied together in forms used across his diverse surfaces. This broad, low guinomi has had the most perfect custom-tailored suit made to encase the buff, softish clay body with a wonderful foot which without context could easily be mistaken for a larger chawan, just my type of piece. 

Though this piece is quite attractive in natural light and incandescent lighting, it clearly comes out of its shell and leaves all inhibitions behind when highlighted by the afternoon sun. Like with a number of potters that are on my short list, I am always looking forward to seeing my next Sasaki piece be it temmoku or Ki-Seto.

TWO-VUE

Illustrated is a rather robust and dynamic haiyu mizusashi with a mesmerizing array of color formed by flowing ash engulfing the form and creating a rather unforgettable impression. Created by Kato Toyohisa there are elements of the old traditional archetypes but this has a distinctly modern approach with areas of quick incised marks and planes across the surface capped off with a deep gallery and complimentary lid. Rooted in function, this water jar gives off a sculptural vibe though it is neither sculpture nor classically functional but rather somewhere in between where tradition and creativity meet. Though the base of the ashy surface is straw yellow, the are rivers of greens, blues, greys and orange mingled throughout the landscape that give way to rich, deep iron where the glaze has not covered or parted ways with which give the pot a sense of movement. At first glance this is a rather strong and present piece, it is not a quiet pot but rather seems a bit celebratory adding to the ritual of chanoyu or livening up a shelf in whatever environment it is placed. 

For comparison's sake, I am showing this mizusashi using two distinct light sources, a two-vue.

 

TWELVE PLANES

Illustrated is a yunomi teacup that a collector and friend sent to me recently as a gift. Knowing my interest in the work of jeff Oestriech he thought it would find a good home here though he is insistent that I use it for any possible beverage (or M&Ms in a pinch). I was hesitant to use it and almost got there on the first night of its arrival but it went unused until a couple of days later when I went all in and poured a small portion of bourbon into the cup, I was all in now and I finally broke it in. I am not sure if the honey bourbon tasted any better in this cup but the experience was a bit better using a hand made pot and a gift at that.      

As mentioned, this was made by Jeff Oestriech some long while back and though the surface clearly shows some influence in the MacKenzie monotone, the pot is clearly something new. Gently squared, each side has three casual faceted cuts creating a total of twelve planes which though no longer round make for a comfortable grip and lots of lip to imbibe from. Though the exterior profile of the foot remains round, the cuts create a distinctly complimentary addition as a four-footed pedestal that match up quite well with the soft geometry of the yunomi overall. Though I was reticent to use this yunomi, I am glad I have broken it in as nothing beats using a friendly pot, gifted from a friend and made by a potter who thinks a bit outside the box but keeps a watchful eye on function just as it should be.

FAR-OFF

This is number 3 of three pieces that I had sent to the teabowl exhibition in Philly. I opted for this somewhat conservative, stacked stone Oribe teabowl over swirled slip and some Kuro-Oribe accents. I think I choose poorly apparently as it is still available though I thought it a fairly strong piece, oh well, I guess it can always be used for chowder, chili, cashews or carambola. Thrown out of stoneware, tooled and given a thin layer of swirled slip, this bowl is simply put, based on two smooth stones stacked on top of each other like the base of some far-off cairn dotting the landscape of your mind. This teabowl is a nice handful and honestly is as simple a bowl as I could make which I was thinking was exactly the point.

TO WHAT END

In the past handful of cycles around the sun, I have noticed that there seems to be individuals who aren’t willing to stand on their own accolades. In case that was vague, what I am referring to is potters who posts old photos of some other potter’s work and then try to take credit for it. I guess my biggest question is why would you do this? Is this just me being naïve, what is the end goal, to what end or purpose especially in this digital age when many can easily see and spot the deception. At the end of the day, at least in my eyes, those who undertake such nonsensical subterfuge only sow distrust and malign their own credibility in the long run and honestly it is a bit sad. I may not be able to conclusively prove the deception, but every potter handles clay in their own unique way and when the extant works of the troll clearly differs from the work, they are taking credit for, in my mind, the charade is over.    

Illustrated is a pot I made a while back, oh wait, no I didn’t, this is, in fact a large Iga vase form by Kojima Kenji. This tall iron and ash glazed vase shows areas of tataki paddling and though it doesn’t say so on the box, the surface makes me think of his Tetsu-gama, iron fired pieces. The form was casually thrown and is finished off with a perfect, wonky mouth and lip that compliments the pot to perfection. For anyone following Kojima Kenji’s work, it is clear how he handles clay, it is particular and easily recognized, carrying on from form to form, and among varying sizes and styles across most of his time in clay. The clay is imbued with confidence, purpose and determination where his knowledge of Ko-Iga acts as a springboard to create rather distinct, modern pots in a tradition that is constantly moving forward and dare I say, entirely his own.

2 + 2 = A GROUP

Illustrated is a group of four spirit or bourbon cups I made a while back and shipped West. They were thrown out of a sandy small batch white stoneware and roughly faceted before two were amber glazed and the other two were given the Oribe treatment. All four were thrown off the hump and perhaps my favorite feature beyond the lift off the taller feet is the areas where the amber or Oribe glazes have collected creating deep, dark pools, a perfect accent for the forms. This picture was a rather quick, impromptu photo of the “gang of four” and will have to act as the only record of these pieces which actually started as nine and was whittled down to four by the customer acquiring them for a friend cross country.