Entoten Fundraiser for Mingei International Museum with Limited Edition Tea Whisks by Tanimura Tango

By:
Mingei Tea (Chado) Tanimura Tango

Mingei Museum Fundraiser Tea Whisks by Tanimura Tango in our shop ->

Museums play a major role in defining a city, and as I await the reopening of the Mingei International Museum on September 3rd, 2021, I have never been as excited for San Diego as I am now.

The reason for my anticipation is because I dream of San Diego becoming a city where people deeply appreciate the social and spiritual significance of craft, and with the fresh energy of the revitalized Mingei Museum, it will become a destination for people in search of design and craft inspirations. I would also like to believe that it is no coincidence that I live in a city where the only Mingei museum outside of Japan is located.

New entrance to the Mingei International Museum from Alcazar garden, Balboa Park

The Mingei International’s management, headed by director Rob Sidner and aided by architect Jennifer Luce, designed the new museum with an open ground floor. It is intended to become a “living room” for Balboa Park where representative objects from the collection will always be on view, free of charge, for anyone to experience craft from many cultures. The space will also be equipped with a café, bistro, and shop: Becoming a museum that serves as a place for people to gather, eat, and drink or to simply be.

Photo of the ground floor of the Mingei International Museum during construction in June 2021. The Margaret A. Cargill Commons aka “The Commons” will have multiple entrances and will be free for all visitors to the park.
Photo Courtesy of Mingei International Museum

Featuring careful use of materials and excellent craftsmanship within the fabric of its design, the newly renovated museum will be an important addition to our local community and cultural identity. But the cost to pay for this grand transformation has yet to be fully funded, so, as an expression of community support for the museum, I asked 20th generation master tea whisk maker, Tanimura Tango in Nara, Japan, to create limited-edition tea whisks (chasen) in the color scheme of Mingei International Museum to organize a modest fundraiser.

Mingei fundraiser limited edition chasen by Tanimura Tango in Navy and Orange strings.
Mingei fundraiser chasen in navy and orange strings (stripes version)

Tanimura Tango’s tea whisk is one of the articles that the Mingei International Museum added to its collection in 2020. His shin-kazuho chasen was also included in the Mingei time capsule this January, together with select Museum publications and other undisclosed objects to commemorate the occasion. This makes his work the perfect symbol for this fundraiser.

Filling the Mingei International Time capsule, January 27th, 2021.
From left, Library & Archives Manager Kristi Ehrig-Burgess, Director Rob Sidner, Deputy Director Jessica York
Photo courtesy of Mingei International Museum

To me, the tea whisk is an allegory for craft that connects us to people across history -over 500 years- and cultures whose collective labor has given it form. In a world that places so much value on speed and immediacy, it is also a powerful reminder that we should strive to build a culture that does not easily forget.

Please help me raise $1000 to donate to the museum that will include all the proceeds from the sale of these limited-edition tea whisks. The whisks are made of white bamboo in shin-kazuho style, a tried and tested design that is highly durable while creating fine foam on top of your matcha when used. It is the same style that is used by the grandmaster of the largest tea school in Japan.

Lastly, thank you very much for your support for my fundraiser. I hope that this blog post will entice you to include San Diego in the list of places that you will visit in the future.

Mingei International Museum reopens over Labor Day weekend
Free admission, September 3rd – 6th
For more information or to donate directly to the museum, please visit their website

Mingei fundraiser chasen in navy and orange strings (Checkered version)

A Unifying Respect: New Ceramics by Mitch Iburg

By:
Ceramics Mitch Iburg

Ceramics by Mitch Iburg in our shop ->

Minnesota-based potter Mitch Iburg’s latest collection of work is quiet, with simple forms and surfaces. The work reminded me of the unglazed and mostly undecorated Yayoi period pottery in Japan’s ancient history, an era generally accepted to be between 300 BCE and 300 CE.  When I told him this, Mitch reminisced about the time we first connected in 2014 and said, “[back then] my interest was more in the very aggressive and bold wood fire surfaces.”

Ceramics by Mitch Iburg made in 2021 with foraged Minnesota clay, sand, and minerals.
Wood fired Tokkuri made by Mitch Iburg in 2014, when Mitch was more interested in melted ash deposits on wood-fired work

I enjoy looking at Yayoi pottery. Whenever I visit Tokyo’s National Museum, I’m one of the few visitors pottering around in the dark and deserted first floor of the museum’s Heiseikan wing where there is a chronologically arranged exhibition of Japanese archeology. I have often wondered what caused the drastic change in the style of pottery from Jomon (14000-300 BCE), which was highly decorated with ostentatious forms, to Yayoi that is very minimal and often with no decorations.

Stem cup from the Yayoi period ca. 100–300 H. 4 3/4 in. (12.1 cm) D. 3 7/16 in. (8.8 cm) Earthenware
Metropolitan Museum of Art, New York

“After firing in mostly electric kilns for a few years I get much more joy from the simple qualities of the natural clay,” Mitch explained. “Much of the historical work I find myself drawn to these days has a similar quality.” The Minneapolis Institute of Art has a collection of Chinese Han dynasty vessels, Korean Silla ware, African vessels, and several works from the Jomon and Yayoi periods, and Mitch says he discovers something new from them every time he visits the museum.

Tokkuri with Kaolinitic clay finish by Mitch Iburg, 2021

After learning what inspires Mitch, I realized that the draw of Mitch’s work and Yayoi pottery is the unspoken respect for the character of the surface. Mitch evolved to prefer the natural beauty of the exterior without obscuring it with ash, and perhaps the Yayoi people grew to enjoy the clay surface without decorations. Regardless of the era and background, people can identify simple, unpretentious beauty. And we can all share our fascination for the Earth and its history.

Transparent, Translucent, and Opaque: New Glasswork by Ishida Tami

By:
Glass Ishida Tami

Glass by Ishida Tami in our shop ->

When I walk my dog before sunrise in San Diego’s Mission Bay, the sky along the Pacific coast sometimes displays spectacular bands of colors. When that happens, I take a picture and send it to the glass artist Ishida Tami because I think of her work.

Ishida Tami’s Glass Vessel, 2021
The sky before sunrise in Mission Bay, January 2021.

“The beauty of what nature creates is unrivaled and there is no way to even imitate it. But I want my work to stir the imagination in people,” Tami explained about what motivates her. Tami creates blown glass with layers of powdered glass coatings that are cut and intensely polished on the surface, a unique technique that she developed while studying the works of ancient Sasanian glassmakers.

Combining colors is the most difficult aspect in creating her work and Tami readily admits that she often makes mistakes. “Glass can be opaque, translucent, transparent, and the sizes of glass powder and their melting speeds and manufacturers can vary,” Tami said in summarizing the complex process and infinite combinations that are possible.

Tami used three different types of black glass in four different grain sizes to create work in the batch for Entoten

For example, Tami used three different types of black glass in four different grain sizes in the latest batch of work that she made for Entoten. “Black goes well with vivid colors so I used black many times in this batch of work,” she said. “I’m happy that delicate expressions of layers can be achieved with them.”

Tami has recently been finding inspirations for colors and layers of glass in natural stones, like agates with patterns on the cut surface. And while researching agates, she stumbled upon “The Writing of Stones,” a book by the late French intellectual Roger Caillois. “I thought that maybe we were inspired in a similar way by these rocks,” she said about the book. “But the vast imagination that Caillois derived from the interior of these stones was astonishing.”

A closer look of the foot of a glass vessel by Ishida Tami

Tami chuckled that she thought she was skilled at fantasizing until she read Caillois’ book and was amazed that he was far better at it.  “My thoughts as I create are evolving little by little, even if that isn’t apparent now. But I hope to create work that would reflect this progression in the future,” she said. The transformation is already visible in her current work that are distinctly her own.