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A Unifying Respect: New Ceramics by Mitch Iburg

By:
Ai Kanazawa
August 9, 2021Ceramics 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.

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ceramics Mitch Iburg ミッチ・アイバーグ Minnesota

4 responses on “A Unifying Respect: New Ceramics by Mitch Iburg”

  1. Richard Escarcega August 10, 2021 at 8:11 am

    There is an utterly compelling aspect to straightforward simplicity…thank you!

    Reply ↓
    1. Ai Kanazawa Post authorAugust 10, 2021 at 8:18 am

      Indeed. Thank you for reading and for your kind comment Richard!

      Reply ↓
  2. Lauren Deutsch August 11, 2021 at 3:17 pm

    Much like vintners and winemakers highly regard terroir in consideration of the nuances of projecting the outcome of their work and the flavor notes of the end product, Mitch’s ceramics is truly steeped in the soils he forages to create a literal “body of work”. One almost wants to taste the material, as one might seek a vineyard with presence of limestone for pinot noir. (Hint: Columbia Valley WA). While Mitch’s work is not glazed in the interior, I found it nonetheless very fine for steeped tea and warm sake.

    Reply ↓
    1. Ai Kanazawa Post authorAugust 11, 2021 at 4:13 pm

      Absolutely agree. Thank you Lauren for your comment!

      Reply ↓

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