Category: Ceramics

Iowa potter Shumpei Yamaki takes a very long time to load his single-chamber anagama kiln. “People used to mock me in school because I was so slow”, he chuckles. “But to me, kiln loading is like completing a beautiful 300-piece, three-dimensional jigsaw puzzle that has infinite picture variations”, Shumpei says in explaining why he takes about six times longer than other potters for the loading process.

“I love kiln-loading” Shumpei says passionately. “In ceramics school, we are taught that 80 per cent of the end result depends on how the kiln is loaded, but I’m surprised how little time people spend to load the kiln.”

A beautifully loaded ’Kumahei’ kiln of Iowa potter Shumpei Yamaki before the firing. Each piece is placed with the greatest care and attention. The wood is added from the front part of the kiln and the pieces closest to the front receive the most effect from the fire and ash. (Photo Courtesy of Shumpei Yamaki)

Unlike many potters that load similar sized items in groups inside the kiln, Shumpei arranges vessels of various sizes and shapes all mixed together. It takes much longer to load pieces this way, but to Shumpei the utmost advantage of firing unglazed wares in a wood-firing kiln is the freedom in the way the pieces can be arranged inside it.

The kiln is fired for 4 to 5 days. (Photo courtesy of Shumpei Yamaki)

The kiln after the firing. Towards the end of the firing, Shumpei drops the pieces closest to the stoking hole onto the hot embers. While there is a risk of the pieces breaking, Shumpei thinks that the most exciting effects can be achieved from this process. (Photo Courtesy of Shumpei Yamaki)

To place each piece, Shumpei considers how the fire will flow between the pieces and how the ashes may fall onto their surfaces: by stacking, putting the pieces on their sides, and placing them diagonally or upside-down. Shumpei takes his time because he simply does not want to ‘waste’ the space by lining up similar pieces.

Wood-fired Jar by Shumpei Yamaki. This jar is an example of a piece dropped onto the embers in the firebox.

All of this attention to kiln loading and pottery making in general was implausible to Shumpei back in the late 1990s when he arrived in the U.S. to learn street and house dance. He then went on to study archaeology at the University of Wisconsin, but was still unsure if this topic was what he wanted to pursue as a career.

Behind Shumpei’s move to the U.S., there were complex tales of brilliantly talented family members and self-imposed expectations in life as the eldest son, together with perhaps a desire to run away from it all.

Shumpei never dreamed that he would become a potter (Photo Courtesy of Shumpei Yamaki)

Then in 1999, Shumpei almost lost his life and his right arm in a car accident, which completely changed his life. “I woke up thinking, wow I had a great sleep” he said. “Then when I opened my eyes I was surrounded by people and that’s when I realized I was in an accident.”

Traumatic as this accident may have been, Shumpei speaks openly about it because he realizes that if it was not for this event, the club-dancing, fashion-conscious young man would have never learned pottery that was recommended as physical therapy for his damaged arm. Shumpei’s natural gift was quickly recognized by Karen Terpstra, Professor of Art at the University of Wisconsin who recommended Shumpei to continue with his ceramics studies. He went on to apprentice under Richard Bresnahan of St. John’s Pottery at the College of St. Benedict and St. John’s University, and eventually received a MFA from the University of Iowa.

Simple and modern wood-fired bowl by Shumpei Yamaki

The hallmark of Shumpei’s works are their refreshingly modern and sharp lines, a welcome diversion from wood-fired works that often have a rustic and clunky image. Shumpei’s care to pull out the maximum effects of fire in the kiln are evident in every one of his pieces.

Wood-fired bottle by Shumpei Yamaki

“I started with the presumption that true vessels are made unintentionally” Shumpei says, “so I wanted to learn the skill to be able to throw speedily, eventually without thought. But then I discovered that this style did not work for me. When I make pots, I want to put feelings into each piece and I always aim to create each vessel with sincerity.”

Shumpei takes time to make each piece of pottery with heart-felt sincerity.

Until Shumpei started making ceramics, he assumed that he would end up living in the city, similar to where he grew up in Japan. After all, nature and earth were the furthest away from his interests. But now rural Iowa is his home, where all he can see around him is the horizon and his kiln.

Shumpei Yamaki’s kiln in West Branch, Iowa (Photo Courtesy of Shumpei Yamaki)

Shumpei contemplates the path that he has traveled. “I was sent to nature camps when I was growing up and I couldn’t adapt so I thought it wasn’t for me. But now that I live here [in the countryside], I’m surprised how much I enjoy it”. He is making elegant pots and also continuing to dance, and he’s so good at both because of his extraordinary ability to feel, improvise, and be free.

It is not just a bowl, it is a spouted bowl

December 3, 2017Ceramics Kazu Oba

Do you use spouted bowls on your dining table? If not, I highly recommend that you do. Don’t be misled by the spout though as these bowls are not just for pouring liquid, but are also great for serving a meal, soup, or even displaying flowers.

An unglazed spouted bowl, or katakuchi, by Kazu Oba

The best way to think of them is that they are a bowl with a “mouth” that has personality and charm. In Japanese, these vessels are called Katakuchi, and there is so much interest and obsession with them that there are stores that specialize in only selling spouted bowls.

Kazu Oba’s white katakuchi with a touch of blue from the salt introduced to the kiln at the last stage of firing.

A double spouted bowl by Kazu Oba

As my regular customers might already know, katakuchi are my favorite types of vessels and I can’t seem to get enough of them. Luckily, I just received a whole bunch of them from Kazu Oba in Colorado, together with other beautiful pots by him. Please enjoy browsing these gorgeous mouthed vessels in my shop today!

New work by Kazu Oba, and the Story of Myoga, the Japanese Ginger

October 12, 2017Ceramics Kazu Oba Food and Craft

Ceramics by Kazu Oba in our shop ->

Looking back, I realize there were so many things that I disliked eating when I was a child. One of my arch enemies was myoga, the flower buds of Japanese ginger that appeared regularly at the dinner table in the summer and did not go away until October.

Myoga, Japanese ginger

Just like green onions, myoga was served as a garnish in miso soup, cold tofu, and other delicious things that, to a child’s tongue, tasted far better without this cursed topping. These terrible condiments are called yakumi, which means medicinal garnish, and my dream was to move to a world where they served food without them.

The other problem with myoga was that it was also the motif of my family’s crest. When I discovered this fact, I was so disappointed that I wasn’t born into a family with beautiful flower crests like Wisteria or Paulownia. I mean, why a lowly vegetable?

Family crest on my kimono, daki-myoga. The Japanese ginger motif.

Years have passed and now a cold tofu without yakumi would be a let-down at the dinner table. And I even rather like the fact that a hardy shade-loving Zingiber is the motif of my family’s crest.

Cold tofu served with myoga and green onions in a bowl by Kazu Oba

Kindling Emotions: Functional Ceramics by Samuel Johnson

September 27, 2017Ceramics Samuel Johnson

Ceramics by Samuel Johnson in our shop ->

Ceramics fired with wood and adorned with their natural ash are one of the most fascinating types of pottery to bring into our daily lives. This is because the color and texture varies throughout each vessel, and new things can be discovered as the user explores the surface while handling the vessel.

A wood-fired spouted bowl by Samuel Johnson. The user will notice the various colors and textures revealed in different lighting conditions.

When Samuel Johnson was inspired to become a potter as a junior at the University of Minnesota over twenty years ago, he says that he fell in love with the concept of “expressing complex ideas and feelings through a limited structure, and was overwhelmed by the creative potential others had found within it”.

The dark clay body of Samuel Johnson’s work brings out the beautiful natural colors of fruit, like these peaches.

Samuel’s work is robust and with a strong feeling of tradition. His creations are simple and powerful, undisturbed by modern motivation. He says his skill and sensibilities were most influenced by his teacher and mentor Richard Bresnahan, whom he apprenticed under for over three years right after graduating from college.

Bresnahan has been the Artist-in-Residence at The Saint John’s Pottery for over 35 years and is renowned for his unique aesthetic and tradition of deriving materials for making pottery from indigenous materials. “I learned my fundamental skills in his studio and developed my sensibilities for both the how and why of it”, Samuel recalls about his time as an apprentice.

Left: Potter Samuel Johnson’s kick wheel and freshly thrown pots. Right: Samuel adding charcoal to the last stage of wood-firing

Samuel is also deeply influenced by the work of Nakazato Takashi, a 13^th generation potter in Karatsu, Japan who was the teacher of Bresnahan. Nakazato is one of Japan’s most revered contemporary potters who has helped bridge countless interactions and exchanges between potters of Japan and the U.S. His achievements also include the revival of the powerful Yokino ware, an indigenous and beautiful wood-fired, simple unglazed type of pottery from Tanegashima Island.

A paddled jar by Samuel Johnson. The stunning form is a reference to the Karatsu tradition of pottery where Samuel’s teacher Richard Bresnahan studied as an apprentice. It is important to Samuel that his work represents a lineage and connection to a tradition.

“Having studied within a specific lineage of makers, I feel responsible to them and their aesthetic tradition. Yet, theirs is a tradition of diversity”, says Samuel to explain how his teachers have influenced his work. He also sometimes deliberately makes forms that reference their work, as a mark for the insightful to notice.

Samuel today is an Associate Professor of Art at the College of Saint Benedict and Saint John’s University. As a full-time professor and father of four young children, his pottery work is undertaken mostly at night after the children have gone to sleep. Work must be stocked up over several months to fill a wood kiln that he built on the university campus. The firing of the kiln is an event involving students and members of the local community that happens two or three times a year. In addition, Samuel fires his gas kiln several times a year in-between the wood kiln firings.

The wood-firing kiln that Samuel Johnson built on campus is fired 2-3 times a year. “The Sister Dennis Frandrup Kiln” was named after a nun who led the ceramic program for many years at the College of Saint Benedict and Saint John’s University

“I like pots that feel enigmatic, mysterious, and resolute”, Samuel says. He also considers the functionality of pottery as essential, because it is a unique form of engagement that is largely absent in other art forms.

So I invite you to take a closer look at Samuel’s work and experience the emotions that they can evoke. By pouring tea in his cup, serving salad in his bowl, or putting a flower in his vase, you may experience the feeling of encountering an old tree, the tenaciousness of a rock, or the seasons and passage of time. It is like visiting a wonderful garden, right inside your hands.

Mastering Simplicity: Ceramics by Bill Geisinger

July 5, 2017Bill Geisinger Ceramics

Wood-fired ceramics by Bill Geisinger in our shop ->

Ceramic works by Bill Geisinger are a poignant reminder of our love for simplicity, natural materials, and the personal connections that are all too often overlooked in this instant technology-driven world.

A simple vase made by Bill Geisinger with beautiful natural ash landscapes

Bill’s works are made using local clay that he dug up himself and fired using eucalyptus wood in his beautiful off-the-beaten track studio and kiln in Sabastopol, California. The fallen ash on the earthy surface of the clay creates exquisite natural landscapes that are surprising and mysteriously captivating.

Over 40 years ago when Bill was an aspiring painter and art student, he visited San Jose State University’s ceramics studio and became enthralled by the tactility of clay and its unique ability to connect with our lives. He went on to study under Professor James Lovera and Harry Nakamoto, who was his teaching assistant at that time. One day in class, Harry showed a film called “The Potters of Japan” by Richard and Marj Peeler. The sound and images reminded Bill of his days growing up in Japan in the early 1960s. “Maybe this was the beginning when I became a potter” Bill muses.

Potter Bill Geisinger’s rustic kiln and studio in Sabastopol California

So began Bill’s life-long love affair with clay that continues to the present day. Bill was hired to establish the clay department at De Anza College, which also played a big role in shaping his growth as an artist as he points out that “there was continual interaction to learn and grow from the many visiting artists and the students themselves.”

As an addition to his learning, Bill also regularly takes groups of people who are deeply interested in Japanese ceramics over to Japan to visit with local potters. In the past few years, I have traveled with the group as its interpreter and on each trip, we visit over 15 potters in various regions.

Bill discussing firing techniques with Japanese potter Kohara Yasuhiro in Shigaraki, Japan

Bill must have visited over a hundred Japanese potters by now, and I am amazed at how his love of the material and process continues to keep him curious and intensely interested in what others do. He says that he is most fascinated by how they work, generate ideas, and motivate themselves.

Bill aims to create work that is quiet, simple, useful, and that has a meaningful connection to nature. To me, it is notable that a potter like Bill who has seen so many alternative processes and techniques tested by others wants to create ‘simple’ work using traditional methods.

Bill introducing charcoal to his kiln at the last stage of firing. Charcoal increases the temperature and deprives oxygen, causing the clay surfaces to reduce. Bill says it is his way to add “touch” to his work, because reduction changes the texture and color

In a world where 3D printers can create complex and fascinating ceramic forms from your imagination, and kilns can be controlled to exacting temperatures with a computer, what is the significance of digging up clay and chopping wood to fire for 4 days in a self-built kiln? Simplicity is a concept that is seemingly easy to understand but remarkably difficult to practice these days.

Two small vases by Bill Geisinger that accidentally fused together during firing

Perhaps the significance lies in the fact that any vessel can hold water, but a quiet vessel made using natural materials and with attention to the process provides us with space and allows us to dream. Like the time when I looked at Bill’s vase and imagined how the ashes flew around in the hot kiln. Or another time when I felt inspired to put a flower bud in the vase and self-reflect, or invited friends and prepared some tea. Because even in this age where the Internet is always within reach, our most important connection to beauty is personal and emotional.

Kazu Oba’s Life on the Artistic Rim

February 24, 2017Ceramics Kazu Oba

Ceramics by Kazu Oba in our shop ->

Maybe it is because he lives life on the edge, but Kazu Oba has a thing about rims. This potter-cum-sculptor-cum-dancer-cum-cook-cum-guerilla pot thrower confesses that the most difficult aspect of creating pots is the making of their rims. Indeed, the exquisite and alluring rims are the hallmarks of this potter’s vessels.

A spouted bowl by Kazu Oba has an exquisite rim and mouth.

Kazu’s life on the razor’s edge began when he was just 17 years old when the lifelong Kobe resident was inspired to travel on his own and live in the U.S. after watching the American movie “Grease”.

An aspiring artist, Kazu studied at the University of Colorado at Boulder and had the opportunity to apprentice under Jerry Wingren, a sculptor in wood and stone who is based in Boulder.

Another key influence for Kazu has been his nearly 15 years working as a restaurant cook to support his livelihood as a student and apprentice. Kazu started paying attention to the vessels on which the food was served while working, and that was why he decided to became a potter.

Ceramic artist Kazu Oba working at his studio in Colorado (Photo courtesy of Kazu Oba)

After completing his apprenticeship with Jerry, Kazu traveled back to Japan to study under Nakazato Takashi, the master potter from Karatsu, Japan, whom he had met at the Anderson Ranch Arts Center in Colorado. Kazu returned to Colorado in 2004 and eventually started his own studio creating ceramics and sculptures.

To ensure that he retains his creative edginess, Kazu occasionally takes his craft to the street as a ‘guerrilla pot thrower’ and makes pots on a portable kick wheel. The primary purpose of Kazu’s street pot theater is to advertise for his solo shows, which has taken place in numerous cities. “I want to show people how I make pots and, also get out of my comfort zone to test myself,” Kazu says.

Kazu Oba ‘guerrilla pot throwing’ on Kyoto’s popular Hanamikoji street. (Photo courtesy of Kazu Oba)

While Kazu is a bold adventurer, his artistic creations appear quiet and modest at first glance. But as soon as they are used, you will quickly recognize that they are carefully crafted to enhance the food that is placed in them. His pots are modern and clean, with beguiling rims. “I think all the world of lips”, Kazu explains.

Kazu uses a variety of clay and glazes so that the table has a mixture of colors and textures.

As a cook, Kazu makes wares that he wants to use on his dining table, and so he ponders most about his work when he eats. For example, he uses a variety of clay and glazes so that the table has a mixture of colors and textures instead of looking all dark or light. Whether it is the sharp attention to the textures of colors that becomes background to food, or perfectly executed rims that frame it, this unique perspective of an experienced cook makes Kazu’s work truly exceptional.

Small salads served on funagata side dishes by Kazu Oba

When I look at Kazu’s work, I cannot stop thinking about the things I will eat out of them. It maybe vivid green blanched vegetables on dark clay, or some bright coulis for that meat on porcelain. I am sure that the cook inside you will be intrigued too.

Balancing Design with Usability: Blue-and-White Pottery by Watanabe Ai

January 26, 2016Ceramics Watanabe Ai

People often ask us how Studio KotoKoto decide on which potters to work with, and the first thing that springs to mind is that we work with makers who create vessels that inspire use. It also doesn’t hurt if they share the same attractive names as us.

So when I saw Watanabe Ai’s blue-and-white pottery, I immediately imagined all kinds of appetizers and snacks served on her lovely plates on top of my dining table. Simple everyday objects like onions, gourds, and flowers inspire Watanabe-san, who was educated as a designer at University of Tsukuba’s School of Art and Design.

Blue-and-White cups by Japanese potter Watanabe Ai. She gets inspiration from simple everyday objects.

She is quick to emphasize, though, that the most important element in making is to balance design with usability. “Pursuing the look makes pots too expensive or uncomfortable for use”, she believes, and “an effusive work is remarkably difficult to be accommodated into people’s lives.” Her creations are true to this philosophy, and bold as the patterns may seem, they enhance and do not get in the way of the food they carry.

Balancing design with usability is of utmost importance to Watanabe Ai. The bold design does not get in the way of food but becomes an enhancing background.

“The brilliance of colors that I saw when I traveled in Asia, Turkey and England as a student really stuck with me, and I feel that it is coming out in my work,” Watanabe-san says. Certainly, the use of a single vivid shade of blue gives her work a distinct modern look, since the vast majority of Japanese blue-and-white pottery makers employ different shades of blue that gives them a more traditional look.

Watanabe Ai painting onions on a cup. The use of a single vivid shade of blue gives her work a distinct modern look.

After graduating from university, Watanabe-san initially worked for a toy trading company where she honed her skills in design through creating catalogs and 2D advertising. “I worked to sell things but I aspired to create things with my own hands,” she reflected.

While visiting craft shows, she was motivated to become a potter because pottery-making seemed to allow for so much freedom in colors and shapes. So she left her stable job and went to study pottery at Seto Pottery Senior High School in Aichi prefecture.

Watanabe Ai of Kikakikaku showing her work at a 2015 craft show in Japan. She was inspired to become a potter while visiting craft shows.

When I met Watanabe-san in the spring of 2015, it had only been a year since she established a pottery business called Kikakikaku with her husband Murayama Takumi, who provides sales and production support. I remember being amazed that she was showing her work at a juried craft show alongside experienced and well-known makers.

Just last month, Kikakikaku moved into an old house that used to be a hair salon and is currently in the process of being converted into a studio. Their plan is to have a mini-gallery adjacent to the studio, just like many potters do in Japan. “That’s our dream, and for us to make a living by making pottery”, Watanabe-san says.

The new pottery studio and kiln of Kikakikaku in Odawara city in Kanagawa prefecture. In the photo, Murayama-san is converting what used to be an old hair salon into the pottery studio.

She is eager to gain more experience and develop more techniques to create wares as close to what she has visualized while she is making them. “Pots warp and shrink, and the colors of the stain and texture of the glaze turn out differently depending on the temperature and density of the kiln”, Watanabe-san explains.

Photos of pots before and after firing in a kiln. Watanabe-san is eager to build up her experiences and techniques so that her completed pots have the desired colors and consistency of glaze.

Watanabe-san’s enthusiasm and sensibility for design are purely reflected in the work that she makes. She chuckles that recently she has been drawing lots and lots of onions, but “I have so many motifs swirling in my head that I want to put onto my vessels.”

We are excited to introduce these creative works of Watanabe Ai to the U.S. and cannot wait to see innovative new works coming out of this young and talented potter’s kiln in the future.

Transcending Time and Borders: Slipware by Japanese Potter Kubota Kenji

November 20, 2015Ceramics Kubota Kenji

Slipware by Kubota Kenji in our shop->

Just over a century ago, Yanagi Muneyoshi, the father of the Mingei movement, and potter Tomimoto Kenkichi discovered the fittingly titled book, “Quaint Old English Pottery” written by Charles Lomax. They were, to use an elegant English term, flabbergasted by the beautiful slipware of Thomas Toft that was featured in the book and this sparked considerable interest within the Mingei movement as to what the English had to offer.

Subsequently, English slipware made for daily use by anonymous craftsmen in the 18^th and 19^th centuries was introduced into Japan by the English potter Bernard Leach and mingei potter Hamada Shoji. These wares had a profound influence on Japanese makers and the Japanese crafts world.

That influence continues to be felt among Japanese potters today, and none more so than Kubota Kenji who makes slipware for daily use in the famous pottery town of Mashiko. I first encountered Kubota-san’s work while walking through Mashiko’s high street.

Dinner plate with arabesque slip-trail decoration in caramel glaze by Kubota Kenji. His work is not only pleasant to look at but also fun to touch.

I was instantly attracted to the bright and sophisticated air that his work radiated, despite the traditional cream and brown colors that sometimes has the tendency to give a dark feeling to the pottery. “I want to create wares that are cheerful on the table as well as fun to touch and look at,” Kubota-san says. His slipware pots are full of warmth and delightful to hold.

Coffee pourover set by Kubota Kenji

This unassuming potter claims that he decided to become a maker while walking through Mashiko as an art theory student. “There were so many young potters and they seemed to be having great fun”, he recalls. He jumped in and a decade flew by while he learnt to enjoy the challenges of creating pots.

Many types of slip are created using native clay from Mashiko and tested for the best effect (photo courtesy of Kubota Kenji)

Kubota-san’s pots are rigorously designed to be functional. Once this deep thinker decides on a design, he is able to master and repeat this design skillfully. The skill comes from his seven years of training as an apprentice at large pottery kilns in Mashiko before he established his own studio and kiln in 2011.

A well finished foot is not only beautiful but functional, making the plate easy to hold and handle. (photo courtesy of Kubota Kenji)

Kubota-san’s work involves a slipware technique called slip trailing, which uses clay diluted with water to a creamy consistency to make surface decorations by using a dispenser. It is a technique that requires extensive practice because once a line is drawn it cannot be erased. The seemingly easy and pleasantly flowing contours are a result of a rhythm achieved through constant repetition.

Kubota Kenji using a dispenser to slip-trail (photo courtesy of Kubota Kenji)

The most notable aspect of Kubota-san’s work is that at first glance it appears Western, yet a closer look shows there is a distinct Asian flair. Kubota-san likes to look at textiles and paintings to get inspiration and indeed his work is a unique combination of traditional slipware technique with sensibilities that are reminiscent of Japanese stencil textile designs and patterns.

Mini-rimmed plates by Kubota Kenji with sensibilities reminiscent of Japanese stencil textile designs and patterns

Kubota-san’s contemporary work is also symbolic of the unique influence that English slipware has had on Japanese craft, which was absorbed and reabsorbed by Japanese makers over the years and continuously brought into the daily lives of people.

I am pretty sure that the Georgian era English slipware craftsmen never imagined that their legacy would be alive and thriving in East Asia today, but if they knew I think that they’d be pleased and celebrate with a cuppa or more likely a pint.

Faithful Objects: Pottery by Kenneth Pincus

September 22, 2015Ceramics Kenneth Pincus

Pottery by Kenneth Pincus in our shop ->

Kenneth Pincus has been throwing, trimming, glazing and firing pottery for a long time. Reflecting on a career that has spanned two continents, Kenneth says that, “From the very beginning, pottery focused my mind and drew me in like few other activities.”

Kenneth Pincus working at his pottery studio in Oregon
(Photo courtesy of Kenneth Pincus)

As a young Chinese Studies student at the University of California Santa Cruz in the early 1970s, Kenneth struggled to find his place in the world. But he soon discovered the world of clay and began learning pottery under Al Johnsen. This was the beginning of his fascination with the great pottery traditions of East Asia, which continues to the present day.

After graduation, Kenneth traveled to Taiwan to continue his study of Chinese and pottery. He subsequently returned to the U.S and began working out of a small pottery studio in Venice in Southern California. A series of events followed, including meeting his Japanese wife Hiroko Ozawa and learning Japanese, that led him to Japan where he got to know Yoshida Yoshihiko, a master potter in Gifu prefecture.

Exquisite tenmoku glazed large ovoid bowl by Kenneth Pincus

Kenneth recalls that, “Among the dozens and dozens of potters that I had met in Tajimi, Yoshida seemed especially open-minded and rock-solid serious at the same time, and for me this seemed like a breath of fresh air.” So Kenneth began an apprenticeship with Yoshida in the mid-1980s that lasted almost three years.

Yoshida is well known in Japan for his understated yet outstandingly beautiful work that is full of life and warmth. Yoshida taught Kenneth not to force things in his work or go to an extreme just to gain attention. While many potters aim to be original, Yoshida’s philosophy is that merely unusual work is nothing exceptional.

Wooden trimming knives that Kenneth learned to make from Yoshida. These knives are all handmade out of local wood and gives a distinct look to the trimmed clay surface. To Kenneth, using these wooden knives makes trimming a joyous challenge rather than a chore.
(Photo courtesy of Kenneth Pincus)

Most importantly for Kenneth, the time with Yoshida was a spiritual preparation in which being open-minded became an instinctive way of thinking and this helped him to find his own way in clay. An example of such a learning episode was when Kenneth asked Yoshida’s opinion about the leaf form plates he often saw in shops and galleries around Tajimi during his apprenticeship. Kenneth asked what Yoshida thought about copying leaf forms in clay, some of which were direct copies. Yoshida replied, “sure, it is fine to copy a leaf form if that is what you want, but it is far better to copy the life force that produced that form and incorporate that into your work.”

Kenneth trimming a foot on a tea bowl. The distinct texture left on the clay is visible.
(Photo courtesy of Kenneth Pincus)

Three decades on, Kenneth is still fully engaged with clay and approaches it each time with the eagerness and fresh eyes of a child. Most of Kenneth’s small pots are created on a kick-wheel by throwing off-the-hump, while his larger pieces are made on an electric wheel. He works in 1-2 month cycles of forming, throwing and trimming and then glazing and firing. At the start of every cycle, Kenneth cleans the studio, which is a meditative task that helps him to focus. By the time he sits at the wheel, he knows what form he is after.

Kenneth uses both gas and wood kilns. His wood-fired kiln is fired 2-3 times a year using a variety of wood from the local area: big leaf maple, Douglas fir, pine, alder, and different types of harder woods like cherry or oak. Even though it is hard work, wood-firing is rewarding for Kenneth because it inspires him to grow and be more adventurous with the clay. “There is always a balance between control and freedom, and the wood firing adds a big helping of the unexpected to my often limited efforts, and for this I am very thankful.” He also enjoys the special bond that the wood-firing process brings between the local potters because its preparation demands collaboration.

Kenneth Pincus’ wood-firing kiln in the Skyline area of North West Oregon.
Each firing lasts about 36 hours with 4 people working in half-day shifts.
(Photo courtesy of Kenneth Pincus)

At first glance, Kenneth’s work might seem simple, but under its quiet surface there is so much vigor that invites the pieces to be picked up. “The crucial factor for me is that the clay is not overworked, that I throw the piece to the size and thickness it needs to be, and then stop. This is to say it’s important to know when to end the throwing as too much touching causes the form to lose its buoyancy and freshness” Kenneth observes.

Wood-fired rice bowl by Kenneth Pincus. The flared shape has an air of sophistication and allows the bowl to be of multi-use. It also is easier to eat from.

To me, what is so remarkable about Kenneth’s work is its energizing directness. Be it a rice bowl or a cup, Kenneth’s pots are born to be used and they are alive with healthy beauty.

Making matcha in a wood-fired kiseto tea bowl by Kenneth Pincus is pure delight. The bowl is well-balanced and lovely to hold.

Kenneth’s long time friend and potter Bill Geisinger remarked that, “I use Ken’s pots everyday. They are finely crafted with unique character that add beauty to my life!” My husband, who cares very little about pottery, uses Kenneth’s rice bowl everyday at dinner because “it feels good to eat from it”.

Kenneth says he is thankful for his life as a potter, for the chance to play and to work hard. We are very fortunate that there is a potter like Kenneth Pincus creating beautiful work that can be interwoven with our practical lives, and become our true and constant companions.

The Flavor of the Earth: The Rustic Ceramics of Shigaraki

February 25, 2015Ceramics Shigaraki

Situated below Lake Biwa in Shiga Prefecture and surrounded by the low mountains where the famous Koka Ninja mercenaries perfected their deadly skills during the Warring States period is the pottery town of Shigaraki. Last fall I accompanied a pottery tour group organized by Bill Geisinger and Ben Horiuchi to this sedate town where we met local potters who practice the old art of wood-firing unglazed Shigaraki pottery.

Shigaraki jar by Takahashi Rakusai. The jar displays the landscape of fire color (hi-iro), scorch (koge) and burst rocks (ishihaze). The white feldspar dots protruding out of the surface of the clay are lovingly called kani-no-me (crab eyes) by enthusiasts.
(Photo by Tomoko Matsubayashi)

Shigaraki is one of the oldest pottery towns in Japan with a history dating back more than 1,200 years. Historians say that local kilns were producing roof tiles when the emperor Shomu briefly relocated his palace to the area from Kyoto in 742 AD. These days, many Japanese know Shigaraki for its Tanuki or Japanese raccoon dog ceramic figures that became popular after the Meiji (1868-1912) era.

Shigaraki racoon dog figures are considered to be auspicious icons that bring good fortune.
(Photo by Tomoko Matsubayashi)

By the mid 13^th century, historical accounts suggest that Shigaraki began production of simple unglazed wares with irregular colors ranging from gray to reddish orange and even black. Its distinct rough surface is due to the local clay that naturally contains numerous pieces of feldspar and silica stones of various sizes. The surface markings are achieved by a very primitive form of wood-firing kiln called Anagama.

Close up of a Shigaraki vase by Kohara Yasuhiro showing the dynamic textures and colors created naturally by the clay, fire and ash. The green wash (bidoro) is achieved by the vitrified ash from pine wood used to fire the kiln.
(Photo by Tomoko Matsubayashi)

These wares, like jars and urns, were coil built and made mostly for use by farmers. In the late 16^th Century, tea masters of the late Muromachi and Momoyama (1573-1603) periods deemed these simple vessels to be of exquisite beauty for their flavor of the earth or tsuchiaji. For example, the antique Shigaraki uzukumaru, small jars for storing seeds, are highly prized as flower vases.

Looking at Shigaraki pottery, I feel similar emotions as when I see a weathered piece of wood, or old stones covered in beautiful moss. It reminds me of the power of nature and triggers both awe and longing to connect with its essence.

In our exploration of Shigaraki, we first visited Kohara Yasuhiro, an internationally famous potter who owns a large gallery and shop in the heart of Shigaraki town that features many local potters’ work.

Shigaraki small jars and large plate by Kohara Yasuhiro
(Photo by Tomoko Matsubayashi)

Kohara-san’s work combines the rough Shigaraki clay with the natural and beautiful markings from the Anagama kiln. A prime example is the green glassy pool and dragonfly eye formed by the collected pine wood ash and bright orange clay surface against the dark koge or burn marks. His work is refreshingly free and contemporary while boldly reflecting the tradition and spirit of old Shigaraki ware.

Kohara-san explained that while it is often said that what happens inside a wood-fired kiln cannot be controlled, it can be anticipated through experience. His work clearly demonstrates his knowledge and expertise in the process, and potters from all over the world seek advice from him.

For those lucky enough to be going to the 28th Annual North Carolina Potter’s Conference taking place next week, you will be able to meet this talented potter along with his wife Kohara Shizuko who will be giving a presentation on Shigaraki pottery on March 5.

Anagama kiln of Kohara Yasuhiro. Left: Kohara Yasuhiro, Right: Bill Geisinger

Another potter we visited was Takahashi Rakusai V, whose family has been making wares in Shigaraki for over 180 years. The Takahashi Rakusai kiln was started by Takahashi Tozaemon, who was regarded as one of the master tea ceramics makers in the late Tokugawa Shogunate era (1853-1868).

Tea ceramics by Takahashi Rakusai
(Photo by Tomoko Matsubayashi)

But by the time that Tozaemon was active in the early to mid 19^th Century, Shigaraki had already lost its leading role as a tea ceramics maker. Many of its kilns were converted to the mass-production of glazed wares with processed clay that had all of the feldspar and silica particles removed.

Takahashi Rakusai III took over the running of the family kiln in 1917 and sought to revive the beauty of unglazed tea ceramics made during the Momoyama period. His efforts were instrumental in beginning the gradual revival of unglazed Shigaraki pottery. Takahashi Rakusai III was designated as the Shiga Prefectural Intangible Cultural Property in 1964.

The inside of the snake kiln (jagama), a type of anagama at the Takahashi Rakusai kiln.
The family fires three different types of wood-fired kilns.
(Photo by Tomoko Matsubayashi)

The Takahashi family continues today to produce tea ceramics and other pots for daily use. The current Takahashi Rakusai V took over the family title in 2010 and is known for his tranquil and simple work style. He is an avid student of chaji or tea matters who had studied with the renowned tea scholar Kazue Hyonenshi, and chabana or tea flower with Kato Tansai.

The three generations of potters at Takahashi Rakusai Kiln. From the left, Takahashi Rakusai IV, the current Takahashi Rakusai V and his daughter Yoshiko who is also a potter.
(Photo by Tomoko Matsubayashi)

The last potter that we visited was Arakawa Satoshi, who fell in love with Shigaraki clay and relocated from far away Yamagata prefecture. I was especially excited to meet him because I had seen his beautiful work at the contemporary Japanese ceramics exhibit at the Mingei Museum in San Diego in 2012.

Shigaraki potter Arakawa Satoshi’s Anagama. In the last remodel, he increased the height of his chimney.
(Photos by Tomoko Matsubayashi)

As with many Shigaraki artist potters that fire Anagama, Arakawa-san designs and builds his own kiln. He excitedly showed us the improvements that he had made to the kiln and also the area in his backyard where some of the local clay can be found.

Arakawa-san makes beautiful large jars with spectacular fire colors, that were accepted by the Japan Kogei Association for two consecutive years. He also creates lovely table wares, especially sake wares.

Shigaraki sake cups and bottles by Arakawa Satoshi
(Photo by Tomoko Matsubayashi)

The visit to Shigaraki made me think about the interesting evolution that old Japanese pottery towns are going through. Many, if not most of them, look to make progress by improving efficiency at the high cost of discarding their local traditions and distinctiveness. Fortunately for many pottery towns like Shigaraki, influential visionaries have fought to continue the traditional ways that are deemed essential for making beautiful work that are distinctive to their local regions.

By sharing these brief stories of Kohara-san, the Takahashi family, and Arakawa-san, I hope to have piqued your curiosity into learning more about Shigaraki pottery. After all, our interest in Shigaraki ceramics is the best assurance for the preservation of its tradition.

—>> Visit photographer Tomoko Matsubayashi’s website to see more photos of Shigaraki.