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Recent Posts

  • Kikusumi: Chrysanthemum Charcoal by Kotani Yoshitaka August 19, 2023
  • The Saint John’s Pottery in Minnesota: An American Pottery Tradition August 1, 2023
  • Hyakunin Isshu Karuta No. 10 by Chieko July 22, 2023
  • New Quilts by Sarah Nishiura and Thoughts on the Humble Thimble June 17, 2023
  • Kajo Day: Wagashi Celebration in June June 10, 2023
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  • The Saint John’s Pottery in Minnesota: An American Pottery Tradition
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  • Visiting Vietnam: Traveling in the Land of my Pottery Crush
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Category: Travels

The Saint John’s Pottery in Minnesota: An American Pottery Tradition

By:
Ai Kanazawa
August 1, 2023Minnesota Ceramics Samuel Johnson Shumpei Yamaki

To understand the story of the Saint John’s Pottery in Collegeville, Minnesota, it is worthwhile going to the studio in person. In July, I visited this legendary pottery studio located inside the serene Benedictine environment of the College of Saint Benedict and Saint John’s University (CSBSJU), accompanied by my photographer friend Tomoko Matsubayashi.

“It’s slightly unusual,” said Samuel Johnson, potter and Chair of the Art Department of CSBSJU, about the fascinating relationship and history between the Saint John’s Pottery and the University.  “Ultimately, the pottery exists because it extends the Benedictine values of hospitality and community.”

I’ve been working with Sam since 2014, and this was the first time we met face to face. I was eager to see him because he is one of the rare breed of potters that went through multiple layers of training that included spending time as a Japanese-style pottery apprentice at the Saint John’s Pottery, going to graduate school, and studying overseas in Copenhagen and Japan.

Samuel Johnson’s pottery studio in Saint Joseph, MN
Kick-wheels at Samuel Johnson’s pottery studio in Saint Joseph, MN

We first met at Sam’s studio by his house located in Saint Joseph, a few minutes away from the college campus. Equipped with kick-wheels and long planks of ware boards, the studio resembled the pottery studios that I visited in Karatsu, Japan.

Many of the characteristics —even the studio’s cleanliness— are testimony to the transmission of knowledge through distance and time. Richard Bresnahan, Sam’s teacher, and the Artist-in-Residence at the Saint John’s Pottery, trained under the renowned Japanese potter Nakazato Takashi in Karatsu, Saga prefecture.  “Through the tradition I was studying I felt linked to the past, to potters from other places and times,” Sam says.

Handmade pots line shelves at Samuel Johnson’s pottery studio in Saint Joseph, MN
Samuel Johnson standing next to long wooden ware boards at his studio in Saint Joseph, MN
Coiled and paddled wood-fired jars by Samuel Johnson

There are two wood-firing kilns on the CSBSJU compound. The smaller kiln is called Sister Dennis Kiln that Sam built in 2012. This kiln is usually fired in the spring and fall, giving opportunities for students at the university to experience the traditional method of firing pottery. Through this experience, the students learn to work together and appreciate the beauty and function of handmade pots. “I studied here, so I thought it was only natural to use handmade pots,” Sam said in explaining the positive impact of being familiar with handmade ceramics. “But many people in the rest of the United States often ask if it’s possible to eat from a plate made in this manner.”

Sister Dennis Kiln at CSBSJU. The kiln is fired for about 76 hours using wood from the college arboretum.
Stoking windows on the side of Sister Dennis Kiln at CSBSJU.
Sister Dennis Kiln at CSBSJU. Once the pottery pieces are loaded inside, the kiln opening is closed using bricks and clay before firing.

In the afternoon, we visited the Saint John’s Pottery located on the west side of campus. Unfortunately, I was not able to meet Richard Bresnahan on this visit because he was traveling to celebrate his birthday with his family. “I lived in that small narrow room,” Sam said, pointing to the upper part of the brick building as we entered from the door below. “It was so narrow that if I stretched out my arms, I could almost touch both walls of the room.”

The Saint John’s Pottery Studio in Collegeville, MN
The upper brick part of the studio building is Saint Joseph Hall, originally built in 1899, which was used to house lay employees and workers. Richard Bresnahan first established the studio in the building’s abandoned root cellar in 1979. In 1992, the University moved the studio by building a new foundation and relocating the whole 4000 sf historic building on top. 

Studio Manager Daniel Smith and apprentice Luke Kiefer welcoming us with tea around the Japanese hearth at Saint John’s Pottery

Current members working at the pottery welcomed us for tea around the famous pottery hearth at the entrance to the studio. They included Environmental Artist-in-Residence, Steve Lemke; Studio Manager, Daniel Smith; and apprentice, Luke Kiefer. Through conversations over tea made with water boiled in a cast iron kettle and poured from handmade teapots, I learned about the many obstacles the studio had to overcome to establish and continue its apprenticeship program. Despite these setbacks, Bresnahan has successfully trained more than 50 apprentices over the last 44 years, and many more artists have come to learn at the pottery as residents of the studio with the help of supporters and grants.

“The Melon Cup” is the first form an apprentice of Richard Bresnahan’s learns to throw on the wheel. The wood kilns at CSBSJU bring out the color of the clay vividly because they are fired at lower temperature than most anagama kilns
Luke Kiefer and Daniel Smith working on kick-wheels at the Saint John’s Pottery.
Daniel Smith trimming the foot of a bowl on a kick-wheel. The kick-wheels are turned clockwise in Karatsu, Japan, but they are turned counter-clockwise at the Saint John’s Pottery, as do most potters in the US

The clay used at the Saint John’s Pottery is made from a nearby deposit that is extracted, stockpiled, and processed as needed in-house using secondhand equipment. The wood used to fuel the kilns is environmentally sustainable, certified by the Forest Stewardship Council, and comes from the nearly 3,000-acre Saint John’s Abbey Arboretum. The apprentices not only master their skills in a deeply immersive setting but also learn to sustainably use the natural resources from the surrounding environment.

Work by Richard Bresnahan, Artist-in-Residence and founder of the Saint John’s Pottery. I hope to meet him in person in the future

Sam says that through his apprenticeship with Bresnahan, he experienced the quality that stirs the imagination in his work. “In cups and bowls that I make, but also in the mundane aspects of work [like] washing ashes or clay, stacking wood,” he said. “This is one of the gifts my teacher gave me.”

The Saint John’s Pottery is a hub that disseminates a deep knowledge of pottery craft. Its apprentices, including Sam and Iowa potter Shumpei Yamaki, are gems of this unique American pottery tradition.

The clay processing area of the Saint John’s Pottery using recycled equipment.

After the tour of the studio, Daniel Smith took us to the other wood-firing kiln on campus, which is the famous Johanna Kiln that was designed and built by Richard Bresnahan in 1994. At over 80 feet, the kiln is the largest of its kind in North America and can hold around 12,000 pieces in a single firing. The kiln is fired once every two years, and as its front chamber is currently being repaired, the next firing won’t take place until October 2024. The labor-intensive firing event lasts for 10 days with the help of 60 volunteers who take turns stoking the kiln around the clock.

The building housing Johanna Kiln on the CSBSJU Campus in Collegeville, Minnesota.
Samuel Johnson inside the large Tanegashima Chamber of the Johanna Kiln

At the end of the day, Sam took us around the CSBSJU campus. The Benedictine monks first arrived in Collegeville in the spring of 1866, and by the end of the 19th Century had constructed the quadrangle building using bricks that they made from the rich clay deposit on site. When I saw these original bricks in the building wall that the monks made, and the durable end-grain wood floor of the Great Hall, it became clear how a remarkable institution like the Saint John’s Pottery was able to thrive here in Minnesota.

Stability, community, hospitality, and dignity of work: these Benedictine standards seem difficult to live by, especially in this modern, economically obsessed world. But what sets Saint John’s apart is that the university has made credible commitments to these ideals that are tangibly demonstrated in the work of the Saint John’s Pottery and its community of potters.

Looking towards Great Hall and the Quadrangle building from the Abbey Church of CSBSJU, Collegeville, MN
Quadrangle Building, CSBSJU, Collegeville, MN
Unevenly fired bricks inside the Quadrangle Building made by Benedictine monks in the19th century. The monks labored to build beautiful buildings, promising stability and durability. CSBSJU, Collegeville, MN
Great Hall (original Abbey) at CSBSJU, Collegeville, MN
The wooden end-grain floor laid in a herringbone pattern conveying stability and dignity of work. Great Hall, CSBSJU, Collegeville, MN
The Abbey Church and Bell Banner by architect Marcel Breuer completed in 1961. The original abbey (Great Hall) can be seen on the right, built to face East, welcoming people arriving from the railway station. The current abbey is facing North towards the road from the freeway, indicating Benedictine hospitality.
“All guests who present themselves are to be welcomed as Christ for he himself will say I was a stranger and you welcomed me.” A sign in front of the abbey woodworking building, CSBSJU, Collegeville, MN

 

All photos by Tomoko Matsubayashi for Entoten

More information about the Saint John’s Pottery at CSBSJU can be found here->
You can also donate to support the Saint John’s Pottery from here ->

That Delicious Steam

By:
Ai Kanazawa
February 4, 2022Ceramics Tokoname Yamada Yutaro

Tokoname clay teapots by Yamada Yutaro in our shop->

Tokoname flat kyusu and hohin teapots by Yamada Yutaro

Tea consumption goes up 5 fold during the winter in my house. Hot tea for warmth is only part of the reason, because I’m also in pursuit of the delicious steam during these coldest months of the year. 
New Tokoname teapots by Yamada Yutaro for your tea and steam in Entoten shop today.

Tokoname teacup and teapot by Yamada Yutaro

Kishu Urushi by Hashizume Yasuo and Reiko: Unfeigned Expressions in an Ancient Craft

By:
Ai Kanazawa
October 23, 2020Kuroe Hashizume Reiko Hashizume Yasuo Urushi

Urushi by Hashizume Yasuo and Reiko in our shop ->

I have always been enamored by negoro-nuri. It is a much sought-after antique urushiware that was originally produced by the monks from Negoro-ji temple in Wakayama prefecture beginning in the 12th Century. In negoro-nuri, the monks made their own utensils by applying many layers of black urushi onto the wood base that was followed by a top-coat of red urushi. The vermillion color has a distinctive depth because of the dark layers underneath, and as the surface becomes polished with use, the black is gradually revealed. It is a unique kind of ‘aged-dignification’ that the Japanese have grown to admire in their crafts.

Negoro-nuri bowl by Hashizume Yasuo. These days you can find many negoro-nuri style urushi that are already polished to deliberately show the black, but Hashizume Yasuo makes them just as the monks at Negoro-ji did centuries ago

This January just before the pandemic closed down the world, I visited urushi artisans Hashizume Yasuo and his daughter Reiko in the town of Kuroe in Wakayama prefecture. Kuroe is known for the local Kishu urushiware that began during the Muromachi period (1336 to 1573) as a center of shibujiwan -a simple wooden bowl coated with persimmon tannin. A key reason behind Kuroe’s emergence as a thriving urushiware center was its access to an abundant local supply of wood.

Kishu remains as one of the three largest lacquerware producing areas in Japan, the others being Aizu in Fukushima prefecture and Yamanaka/Wajima in Ishikawa prefecture. The Hashizume family has been working with urushi for 4 generations spanning over 140 years.

Urushi artist Hashizume Yasuo at his studio in Kuroe, Wakayama
Photo courtesy of Urushikobo Hashizume

The father, Yasuo-san, specializes in urushi work in splendid maki-e, and also in negoro-nuri. Maki-e is an elaborate and meticulous technique for applying designs onto the urushi surface. Designs are made with precious materials like powdered gold and silver, or inlaid with a variety of decorations like mother-of-pearl and even eggshells. He has won numerous awards for his work during his career covering over 6 decades.

In maki-e, gold dust is flicked onto wet urushi using a tube. it is then coated with a layer of urushi and polished to reveal the gold. Charcoal or deer antler powder is traditionally used as a polishing agent. Egg-shells are also used as maki-e decorations.

Reiko has also been working with urushi for over 20 years. After studying at Tsukuba University of Art and Design, she worked as a designer for several years in Tokyo before returning to Kuroe. “I didn’t plan on making urushi my lifework,” she said, “but when I came back to Kuroe, I wanted to work with it since this is the perfect place to do so.”

For tea utensils, many traditional urushi artisans stick to conventional motifs that are easy to sell by often copying or referencing old designs, but Reiko creates maki-e with original contemporary designs with an eye for surprising motifs. When I asked why she chose humble chickweed and asters as subjects for the tea containers, she said “I often see chickweed and asters growing around me, so I wanted to draw them.” I found her pure artistic motivation for choosing her subject very refreshing and persuasive.

Natsume matcha tea container by Hashizume Reiko with maki-e of chickweed in gold and tinted urushi

At the studio, Yasuo-san showed me many different types of brushes that he uses, including a wide hake brush that is made from bound human hair and wood. Like a pencil, when the bristle gets frayed on the brush, the wood can be cut to reveal fresh bristle underneath. “The brush is one of the most important tools for making urushiware,” he pointed out. All the brushes were kept in beautiful condition, which is a reflection of the care that he puts into his work.

Hashizume Yasuo’s collection of urushi brushes

Urushi is a resin extracted from toxicodendron vernicifluum trees that originally came from China, and it has similar allergenic properties as poison oak and poison ivy. But when urushi hardens, it becomes so strong that it resists heat and also acids and alkalis. Urushi artifacts can be found from the Jomon period over 9,000 years ago, which shows how far back they go.

A display showing various steps in creating negoro-nuri urushiware. Before each urushi application, the surface needs to be polished and urushi needs to be filtered. It takes several months to create a single negoro-nuri ware.

But out of many traditional crafts that exist in Japan, daily wares with natural urushi disappeared most rapidly from homes in the last few decades. “After the Second World War, many local people converted to making ‘gosei shikki (synthetic lacquerware)’ which is not urushi but synthesized cashew lacquer or plastic”, Reiko explained as we strolled the streets of Kuroe.

Recent arrival of cheap imported melamine wares further impacted the industry, and because many shops carry a mix of real urushi and other lacquer using different kinds of bases including wood, engineered wood, or plastic, what a ‘lacquerware’ is made of is very unclear and confusing. I once purchased a wood bowl coated with plastic because the shop attendant told me it was ‘shikki’ which means ‘lacquerware.’ I don’t think he was trying to deceive me, but he simply did not know. I understand that there is a place for plastic in this world, but since its widespread use is now causing so many environmental problems, I try not to purchase them if I can.

“How can you tell the difference between plastic and real urushi?” I asked Reiko, “It is very hard to tell the difference. Almost impossible at first glance”, she replied.

Sadly, the word ‘shikki,’ has become such a confusing terminology. If you watch a Ted talk by Murose Kazumi, the Japanese Living National Treasure of urushi art, you will further understand this sentiment.

Over the years, Japan has almost lost all of its capacity to produce its own urushi and today a staggering 97% of natural urushi used in Japan is imported from China.

An old urushi artisan’s house in Kuroe. The houses were built at an angle to the road to accommodate parking for a cart that transported wares in various stages of production.

As we strolled the sleepy town, I imagined how bustling it was at the height of the urushi boom with carts piled with wares being transported down to the river. “It must be so green and beautiful in the summer” I said. “Yes, it gets so hot and humid!” Reiko exclaimed.

How perfect then that urushi, a natural resin that hardens only when there is sufficient humidity and the temperature is above a certain level, flourished in Japan. But it is unfortunate that the urushi culture has declined so much over the years.

An announcement from the Japanese Agency for Cultural Affairs that it would only allow use of domestically produced urushi for the restoration of buildings designated as national treasures from 2018 caused a severe price hike and shortage of domestic urushi for artists like the Hashizumes. To keep the items affordable while maintaining their quality, their urushi items are created by using high-quality urushi from China for the base coats, then using Japanese urushi on top layers. “Japanese urushi‘s color is more transparent and its gloss is very beautiful,” Reiko observed. Under current circumstances though, they cannot acquire enough to make their work using only Japanese urushi.

Urushi furo. A special closet to dry the urushi. The curtain is soaked in water and hung behind the door to create humidity

It will take a considerable amount of time to increase urushi production back to a sufficient level to bring down the price of urushi items for daily use. But an important first step is for people to re-appreciate natural urushi in the items they use everyday, and to become aware of the differences with other lacquerware. Natural urushi ages beautifully, and the wares can be re-coated to be used over many years.

In purchasing urushi work, it is important to nurture connections with shops or craftspeople with integrity, so that the correct information is conveyed. I’m encouraged to see the activities of non-profits like Urushinext, whose mission is to increase the local production of urushi and promote every aspect of this craft to the outside world. The efforts to increase domestic production is not about the differences in the quality of imported vs. domestic urushi as such, but more about preserving the Japanese urushi crafts culture as a whole.

Urushi tea scoop by Hashizume Reiko.

Reiko and I had lunch at a local coffee shop started by a young couple in a converted old urushi factory building. We then visited Jokokuji Temple where Yasuo san created brilliant maki-e tiles to be installed onto the ceiling over a 4-year period. After admiring them for a while sitting on the tatami floor, we strolled down the hill. Then I caught a taxi and hopped on the train that took me back to the bustling city of Osaka, thinking about the future of urushi along the way.

Tea is Always a Good Idea: New Kyusu by Yamada Yutaro

By:
Ai Kanazawa
August 2, 2020Ceramics Tokoname Yamada Yutaro

Tokoname Kyusu by Yamada Yutaro in Our Shop August 3rd->

I am far from alone in wrongly anticipating that the Covid pandemic by now would be under control and I would be planning a summer trip somewhere. But with all the indices here in the U.S. going in the wrong direction, we are stuck at home for the foreseeable future.

One good piece of news arrived recently in the form of a box from Japan that I had shipped months ago early in the pandemic but that got stuck in the Japanese postal system. In the box were Kyusu tea pots by Yamada Yutaro that I had hoped to release in my online shop before the arrival of this year’s new Japanese tea crop in June.

Tokoname flat Kyusu by Yamada Yutaro with mogake markings
The seaweed used for creating the mogake markings on the Kyusu is collected along the coast of Tokoname.

That June date has long past and I read in the news that the long rainy season that tormented Japan this year is also finally over. The humid hot summer has officially started and this is also the beginning of the toughest work environment for many craftspeople in Japan. I remember Yutaro san telling me that in the summer, he sleeps during the day and works at night because the heat in his studio reaches over 100 degrees every day. He is constantly battling with mosquitoes because he has many containers of standing water for making clays lying around in the studio.

Kyusu maker Yamada Yutaro’s studio in Tokoname, Japan
Tokoname Kyusu before firing. Yamada san makes his own clay.
Tokoname clay made by Yamada Yutaro
Tubs carrying clay and water around Yutaro’s studio -a mosquito’s paradise.

When I reported the good news of his pots’ delivery, Yutaro san said, “I’m glad they arrived safely. I hope that we can encourage people to have tea and enjoy using tea wares even more often since we’re all staying at home.” I chuckled because I’ve never heard of anyone as young as him (only 28 years old) talk about making tea at home.

In a stressful time, tea is always a good idea, and I’m happy to be able to share Yutaro san’s passion and thoughtful work during this time. I drink more tea now than ever, because tea time has become an important ritual for both my husband and I to take a break from work at home. So put on the kettle and join me and Yutaro san for tea.

Tokoname Kyusu and Yunomi by Yamada Yutaro

New Work by Mike Martino: The Sun and the Moon Shine Eternally Inside a Jar

By:
Ai Kanazawa
April 29, 2020Ceramics Karatsu Mike Martino

Ceramics by Mike Martino in our shop ->

As April comes to an end in San Diego, the parks and beaches have begun to gradually reopen. This marks the beginning of what will be a very long and uncertain journey to ending our physical distancing that began what seems a lifetime ago in mid-March. But the start of Phase One is an opportune reason to celebrate, and I’m delighted to be able to do this with new ceramic work by Mike Martino from Karatsu, Japan.

In this latest batch, I requested mostly pieces with brushwork that include lovely shrimps, which over the years have become Mike’s signature symbol. I find his lovely rhythmical brush strokes very comforting and meditative to follow with my eyes and I hope you do too.

Large Shino Bowl by Mike Martino with his signature shrimp drawings.

I would like in particular to introduce one of Mike’s pieces that seem to capture our current state of being quite nicely. It is a ekaratsu (painted karatsu) bowl that has the calligraphy letters “kochu nichi getsu nagashi (壺中日月長)” written on it. The literal translation of this Zen word is “the sun and the moon shine eternally inside a jar.”

This phrase was derived from an old Chinese anecdote of an elderly medicine vendor who always disappeared into a jar hanging in the front of his shop after the day’s work. Curious about where the old man was going every night, a local official befriended him and was able to get invited into the pot with him. Inside, the official found a vast palace with a large garden where the old man entertained the official with food and drink. After what seemed to be a whole day, the official returned to the real world to find out that decades had passed. The old medicine vender was an immortal ascetic.

Karatsu bowl with the calligraphy words “kochu nichigetsu nagashi” by Mike Martino

In Buddhist-speak, this may be interpreted as “the realm of enlightenment transcends time.” But I simply interpret this as “time is what you make of it” and unfortunately I fell out of making anything of it for a while during the seemingly unending lockdown. This was a sharp reminder that I was spending way too much time endlessly reading the dark news concerning the pandemic on my phone screen and feeling anxious. But I’m now finally crawling back into the jar.

Lastly, I’d like to add that a lot of time was squandered while I stared at Mike’s bowl trying to figure out which part of the calligraphy referred to the jar (壺), inside (中), sun (日), moon(月), and long (長), only to find that Mike wrote the whole Zen phrase in romanized Japanese. So now you can pronounce a sophisticated Zen saying in Japanese, and isn’t this a highly productive way of using your time?

Mike Martino is currently having an online sale of his work on his website in Japan 4/29-5/6/2020
(click here to visit his website).

The Master in the Redwoods: Pond Farm Pottery and the Legacy of Marguerite Wildenhain

By:
Ai Kanazawa
March 20, 2020Ceramics Sonoma County Research

This past February, potter Bill Geisinger drove me to the rustic and eclectic town of Guerneville along the Russian river in Sonoma County in Northern California. During our car ride there, Bill related to me the logging history of Guerneville, the Bohemian Club, and its controversial grove retreat nearby, and soon, I found myself surrounded by the tall magnificent trees inside the Armstrong Redwoods State Natural Reserve.

The majestic Redwood trees of Armstrong Redwoods State Natural Reserve

As a transplant generation Xer, I had not heard of Pond Farm and Marguerite Wildenhain until Bill sent me a Wikipedia link about the farm prior to my visit. Upon reading it, I was excited to find out about this post-Second World War Californian colony for artists and to discover more about Marguerite, who was its resident artist and a Bauhaus-trained master potter.

Marguerite Wildenhain (1896-1985) was an American ceramic artist and educator. She was born in Lyon, France to a father of German descent and an English mother. Marguerite trained at the legendary Bauhaus school in Weimar, Germany from 1919 for 6 years under master potter Max Krehan and sculptor Gerhard Marcks. She emigrated to the U.S. to escape the Nazis with the help of American architect Gordon Herr and his wife Jane who wanted to establish an artist community in California.
(Click here to watch footage of Marguerite Wildenhain by Rollie Younger on YouTube)

Bill and I arrived early to stroll in the splendid redwood forest. As we walked, Bill said that he had wanted to bring me here because he thought Pond Farm would be a source of inspiration. He shared the story about his visit with Marguerite in the 1970s at the urging of his teacher James Lovera to learn how to make handles from her. Bill always surprises me with never-heard-of-before episodes like this in his life. After hearing Bill’s story, I complained that he rarely makes pots with handles these days, to which he laughed and agreed with my observation.

Entrance toThe Pond Farm Pottery in Guerneville, CA

Following our stroll, we visited Pond Farm with Michele Luna, the Executive Director of Stewards of the Coast and Redwoods, who kindly took the time to show us the compound. The Stewards are the managing member of a partnership for the preservation and revitalization of Pond Farm.

The barn at Pond Farm

“The barn workshop was where Marguerite taught her two-month summer classes every year, and the rest of the year she worked and lived alone in that small cabin,” Michele explained, as she pointed to a house that was closed for viewing due to its dilapidated state. There was also a guesthouse on the compound that Marguerite had built for her teacher from her Bauhaus days, Gerhard Marcks, for his visit to the farm in the 1950s. The guesthouse was recently renovated and is used to host resident artists in the summer.

The guesthouse at Pond Farm

As I stepped into Marguerite’s barn pottery workshop, I immediately felt I was in a familiar place: a studio built upon the artist’s complete devotion to the craft. Inside the barn, I observed the design of the studio and contemplated the system that Marguerite had developed for teaching to countless students each summer from 1949 to 1980.

Pottery studio of Marguerite Wildenhain at Pond Farm

In the now empty workshop, models of the pottery forms that students learned from Marguerite were still in place. I wondered how closely the classroom was designed to the legendary Bauhaus school where Marguerite had trained under master potters for up to 9 hours each day, 6 days a week, year after year.

The classroom inside the Pond Farm barn

After returning from Northern California, I borrowed “The Invisible Core: A Potter’s Life and Thoughts,” written by Marguerite from my local library. She states in the book that many of the students that came to her summer school were college and high school teachers. She writes perceptively that at Pond Farm, “we take great pains in teaching the basic and fundamental elements that go into making a good piece of pottery […] More than that: We have a stimulating exchange of ideas and often really excellent and exciting discussions about art, integrity, human values, life, pots, what it all means, and how they are related, how all these have to fuse in you to one total concept and to form.”

The forms that students practiced in stages during summer class at Pond Farm. Marguerite conducted systematic learning in a traditional master-to-apprentice training environment
The Bauhaus-style kick wheel at Pond Farm

At Pond Farm, I only saw a small kiln inside the barn. So I asked Michele where all of the pots were fired because Marguerite accepted up to 25 students at a time for her summer workshops. Michele explained that none of the work by the students were fired. I was very surprised to hear this because I could not believe that the students were content just to learn how to make pots and not finish making them.

The kiln used by Marguerite Wildenhain at Pond Farm. None of the work by the students that attended summer school were fired.

But after reading Marguerite’s book, I realized that what she taught, and what the students came from all over the country to learn, was not just about how to make pots but also what Marguerite called “the essential requirements that all valuable work need.” These essential requirements consisted of “work, time, patience, effort, and intense devotion and faith in the validity of this purpose.” She called it the “discipline not to betray the requirements of art.”

I told Bill that I found Marguerite’s words compelling and insightful. He agreed and said that “her book was my bible in the 70s.” Over the years, I’ve met and studied many highly regarded artists, and while they all excelled at their craft, most could only teach a very small number of apprentices in their lifetime, if at all. And even with the best of these artists, master-to-apprentice training can be disorganized and mystifying.

The simple cabin where Marguerite Wildenhain resided. The inside cannot be viewed at this time because of its dilapidated state.

Marguerite’s achievements stand out because she was committed to teaching generations of aspiring artists the essential way of life as an artist, and honing of the necessary skills through relentless training like that of apprenticeships. Her teaching took place in a systematic and enlightening environment. If this method originated from the Bauhaus school, it only existed for a handful of years, but Marguerite kept Pond Farm going single-handedly for over 30 years, so her impact cannot be overstated. Her former students, called Pond Farmers, include the likes of Dean Schwarz of South Bear School, and Professor Dorothy Bearnson of University of Utah.

I hope that this blog post will inspire you to learn more about the work of this extraordinary but largely forgotten American master potter and teacher. Marguerite sums up her life’s work in a short statement in her book:

A Marguerite Wildenhain bowl made in the mid-1970s at Pond Farm, Guerneville, California. This stoneware with colored slip, glaze and sgraffito design was acquired by Barbara Brown and kept on display in her home until 2018. At that time Barbara asked Bill Geisinger to take custody of the bowl until it can be displayed to the public at a museum. Barbara is a potter and the international ambassador for the Association of Clay and Glass Artists of California

“My life as a potter has taught me to know the short-lived values of mode and fashion trends, of prizes and “success.” As fleeting as clouds are publicity, fame and limelight, but the good pot will endure through the centuries because of its integrity, its sound and pure purpose, its original beauty, and especially because it is the indivisible, incorruptible, and complete expression of a human being.”

I am not a potter, but wished that I could have met Marguerite to ask about her thoughts on fostering an enduring culture of crafts. In this uncertain time of social distancing with the coronavirus crisis, I found her words comforting and reassuring about my work at Entoten.

Finally, if you can, please help preserve Pond Farm, an important historic site of California’s Armstrong Redwood State Natural Reserve, by visiting the redwood forest, becoming a member, and/or donating to the Stewards of the Coast and Redwoods.

Browse more images of pots made by Marguerite Wildenhain in the Forrest L. Merrill collection

Forrest L. Merrill Collection Website: A History of Pond Farm in Pictures

 

Building a Japanese Glassware Tradition: Blown Glass by Floresta Fabrica

By:
Ai Kanazawa
February 17, 2020Floresta Fabrica Glass Shizuoka

Blown glasswork by Floresta Fabrica in our shop  ->

When people think of crafts from Japan, glassware is probably not the first thing that comes to mind. But even though the craft has a relatively short history in Japan, I personally think Japan boasts many glass makers who create exceptional work, both sculpturally and functionally.

 

Blown glass pitchers by Suzuki Ai: The spouts are perfectly executed so they do not drip. The downward spout make these lovely pitchers resemble little birds
Glass tea caddy by Suzuki Tsutomu. The stunning blue-green color is added by films of silver and copper on the outside. Tsutomu carried out countless experiments to achieve this effect.

An emerging example of this Japanese glasswork excellence is Floresta Fabrica, a studio of husband and wife glass blowing duo of Suzuki Tsutomu and Ai, based in Mori town of Hamamatsu city in Shizuoka Prefecture. ‘Floresta Fabrica’ is Portuguese for ‘forest factory,’ because Tsutomu and Ai wanted to honor the Portuguese who brought glass blowing techniques to Japan in the 18th century. ‘Forest’ refers to their hometown of ‘Mori’, which means ‘forest’ in Japanese. They established their gallery and residence inside an old Japanese house in 2016.

Suzuki Tsutomu and Ai
Suzuki Tsutomu and Ai’s residence and gallery in Mori town
The view from the gallery of Floresta Fabrica

Tsutomu and Ai’s hand-formed glass vessels have very pleasing and slightly nostalgic forms and textures. “We thoroughly study the forms so that they are pleasing to look at and are comfortable to use” Ai explained. “We try to have the perspective of the user when we design the vessels.”

Glass goblet by Suzuki Ai has a lovely form and slightly nostalgic appeal

They are particular about forming each piece by only using hand tools because they believe that is the best way to convey the beauty of mouth-blown glass. For textured pieces, the mold is only used in the beginning to add the texture but shaping is done with hand tools. Ai said that mastering the use of tools is the most difficult process of glass blowing, and that she sometimes just wants to use her hands, but laughed that “would not end well.”

Some of the hand tools used by Suzuki Tsutomu and Ai
Suzuki Tsutomu creating the foot of a sake cup

The batch, which refers to the raw material for the glass, is also very carefully selected for the transparency of the glasses. “We use batches from Sweden because they are very transparent, and we melt the materials carefully so that very few impurities get mixed up.” Any impurities will affect the clarity of the glass.

A pelletized batch from Sweden used by Floresta Fabrica. The material is lead-free and melted to create clear glass.

Ai studied glass blowing at the Osaka University of Arts. She was among the first generation of students that studied in the newly established department. “It was a very good environment because they had the newest and top of the line equipment,” she recalls. Tsutomu was born into a family of ceramicists in Mori, which is well-known for its Moriyama ware. He learned glass-blowing at the Tokyo Glass-Art Institute, and worked several years in Tokyo. The couple decided to settle in Mori after they got married because they believed it was the ideal location for their studio.

Tsutomu and Ai recently became parents to a baby boy and are very happy to be able to raise him in the beautiful natural environment surrounding their house. “This location works well because people come to town to see the ceramics and they also stop by to see our glass work,” Tsutomu said. They dream that Mori will be known one day for both ceramics and glasswork.

 

The beautiful natural environment of Mori town

And history is on their side. Moriyama ware has a history of about 100 years, a relatively short timespan for ceramics in Japan. Moriyama was started by Nakamura Hidekichi, a local man who was so impressed by the story of Seto’s potter Kato Kagemasa that he invited a Shitoro-ware potter to establish a kiln in Mori. These days Mori is a well-established pottery town that is home to four families of potters.

Kagamimochi on Ontayaki Pedestal Plate

By:
Ai Kanazawa
December 20, 2019Ceramics Onta Ontayaki

Ontayaki in our shop ->

The final addition to the Entoten gallery in 2019 is Ontayaki, which is produced in the small village of Onta, in northern Oita prefecture, by 10 families that are the descendants of its founders dating back to 1705.

For this batch of work, I asked a good friend that I have known for over 30 years who is an expert on Japanese craft to curate the work. I was very excited because I had never seen an Ontayaki pedestal plate until he chose to include it in this collection.

Pedestal plates are not often made in Onta because these vessels warp easily with the application of slip. But they are perfect for serving food for the new year, so I decided to make my own kagamimochi, a traditional Japanese New Year’s decoration made of rice cakes, to present on this special plate. You can  find out more about the process in story highlights on Instagram.

You can read more about the village of Onta here ->

Thank you for visiting my website and supporting Entoten for this past year! My best wishes for a happy and healthy New Year to you all.

Kagamimochi New Year decoration on Ontayaki pedestal plate.

 

New Kohiki Pots by Inoue Shigeru

By:
Ai Kanazawa
December 6, 2019Ceramics Inoue Shigeru Tokoname

Ceramics by Inoue Shigeru in our shop December 7th, 2019->

The beauty of the kohiki pots made by Japanese potter Inoue Shigeru are striking because he puts so much effort into acquiring and mixing two types of native clays for the dark base before the white slip is applied. The depth of the white is enhanced by the underlying dark clay.

Kohiki yunomi by Inoue Shigeru

To me, the negative aspects of common kohiki pots are that they are often thick and clunky because the layer of white slip is applied to the surface of the pots. They also chip more easily because of that extra layer. Inoue-san’s kohiki are very different though. They are light with lovely crisp rims and do not chip easily because of the fine nature of the base clay.

Petal-edged small bowls by Inoue Shigeru

 

Small petal-edged kohiki plates are my absolute favorite pots by Inoue Shigeru

I would like to warn first time kohiki owners though that because kohiki have an extra layer of white clay between the glaze and base, they are vulnerable to spotting and staining, especially when you first start using the ware. A Chanoyu practitioner called this spotting of kohiki as “blossoming”, which I thought was a poetic way to describe what was happening. Over time with use, the spotting will stop and the ware will season. So if you are looking for a pristine white pot, kohiki pots are not for you. But if you are willing to nurture a pot, do give them a try.

A set of four kohiki choko by Inoue Shigeru

As a thank you for all your support during 2019, I will offer sets of beautiful kohiki pots by Inoue Shigeru with free shipping within the U.S. for sale this Saturday. I hope that you will use this opportunity to grow your own kohiki.

Guardian of a Craft: ‘Kata-e-zome’ by Esteemed Textile Designer Yamauchi Takeshi

By:
Ai Kanazawa
November 20, 2019Textiles Shizuoka Mingei Yamauchi Takeshi

Kata-e-zome by Yamauchi Takeshi in our shop ->

Entoten is over the moon to be able to introduce a collection of work by renowned Japanese textile designer Yamauchi Takeshi, who has been designing and dyeing textiles for over 60 years in his studio, Atelier Nuiya, in Hamatsu City in Shizuoka.

Soba cups noren door hanger by Yamauchi Takeshi on woven hemp.

Yamauchi-san creates work featuring bold designs of his own creativity, and also motifs inspired by traditional patterns and family crests. His colorful ideas are turned into tenugui towels, cushion covers, furoshiki wrapping cloth, and door hanging noren.

Furoshiki with a circular crane (tsurumaru) motif inspired by a traditional Japanese family crest. The crane logo of Japan Airlines was also inspired by the crest.

Yamauchi-san’s work is known as ‘kata-e-zome’ (pronounced kata-eh-zomeh). You may have heard of the term ‘katazome,’ which means a traditional method of dyeing fabrics by brushing on a resist paste through a stencil.

Thistles patterned tenugui by Yamauchi Takeshi

‘Kata-e-zome’ was coined by the Japanese government to recognize the achievements of Yamauchi-san’s teacher of 6 years, the legendary textile designer Serizawa Keisuke (1895-1984), who was awarded a Living National Treasure title in 1956. Serizawa carried out all of the processes of traditional stencil dyeing himself and created a more pictorial style of textile design, which became known as kata-e-zome, meaning stencil-picture-dyeing.

Yamauchi Takeshi carries out every aspect in the design and production of his textiles 
Photo courtesy of Yamauchi Takeshi, Atelier Nuiya

Yamauchi-san, following in the footsteps of his revered teacher, still carries out all aspects of the production processes by himself. This involves highly labor-intensive work routines that includes creating the stencil, applying resist, and finally dyeing the textile. In a traditional katazome studio, the work is divided between several craftsmen.

Yamauchi-san’s daughter, Yoko-san, said that at this time her father does not take long breaks from his work because, “he worries that his muscles can’t keep up if he rests too much.” Yamauchi-san is 81 years old this year.

Kata-e-zome master Yamauchi Takeshi working at his studio
Photo Courtesy of Yamauchi Takeshi, Atelier Nuiya

Despite his age, Yamauchi-san’s enthusiasm to his craft is limitless. He creates the small tenugui towels with many different designs even though the work involved in creating them is no less than making much larger and expensive pieces. “He wants to make sure that there are pieces of his work available for every budget,” Yoko-san said.

Tenugui designed and dyed by Yamauchi Takeshi sold at Atelier Nuiya. Yamauchi-san creates many different patterned tenugui because he wants to make sure there are pieces of work available for every budget.

If you are ever in the Hamamatsu area of Shizuoka, I urge you to visit Yamauchi-san’s atelier, which is within walking distance of Hamamatsu Station. In addition, Yamauchi-san’s door hanging noren of red mount Fuji is on display at the Japan House in Los Angeles as part of the Japan 47 Artisans exhibition that runs until January 5, 2020 coordinated by D&Department.

Kata-e-zome master Yamauchi Takeshi’s Atelier Nuiya in Hamamatsu, Shizuoka, Japan

Being in the company of Yamauchi-san’s textiles brings such joy and comfort to me, and a little part of Yamauchi-san’s creative world can be viewed in San Diego throughout November when his noren will be displayed at the Entoten Gallery. I hope that you will make time to come out to the gallery and see his special work in person.

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