Tag: ミネソタ

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

By:
Minnesota 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 ->

A Deeper Connection: Ceramics by Mitch Iburg

By:
Ceramics Mitch IBURG

Ceramics by Mitch Iburg will be available in our shop from 9:00 a.m. July 25th 2018 ->

What sets the work of Minnesota potter Mitch Iburg apart from his contemporaries is a depth and intensity of effort that is profound but not immediately visible. While most potters begin their work by wedging their purchased clay in the studio, Mitch’s starting point is to go through local geological publications, survey maps, mining databases, and walking the terrain from where he acquires his materials to create his work.

Ash-glazed vessel by Mitch Iburg. By coil-building vessels, Mitch feels that he can add a sense of history through layers, similar to rock formations that document the conditions at the time they were deposited.

Many people might consider that going to such lengths of effort that Mitch does is pointless and conflicts with the more pressing need to be productive and efficient. But luckily Mitch doesn’t think so.

“I research and collect rocks, minerals and clays throughout Minnesota,” Mitch says. He gathers, tests, and prepares the clay all year around, which is at the heart of his work. Maintaining this commitment limits how much can be produced, but Mitch believes that it is crucial to know the origins and history of these resources to keep a strong connection to the natural environment that they came from.

Left: A clay exposure near the Minnesota River.   Right: Collecting felspathic sandstone  
Photos courtesy of Mitch Iburg
Crude kaolin from the Minnesota River Valley. Photo courtesy of Mitch Iburg
Test tiles made from blends of collected, unprocessed clay. Photo courtesy of Mitch Iburg

Mitch’s path to learning about clay began when he first saw Japanese anagama fired ceramics. “There was so much about them that I couldn’t quite grasp or understand, but I felt a strong, visceral attraction to them that compelled me to study wood firing and ceramics”, Mitch said.

It took a long time for Mitch to comprehend the appeal, but he recalls that, “one day, while working in the studio it finally hit me. I realized that it was like watching a tree swaying in the wind. The wind itself is invisible, but its power and movement become manifested and made visible by the branches and leaves. The vessels were similar to the tree in that they recorded the presence of larger phenomena – the passing of time, alteration of materials by heat, and the enduring life cycle of the Earth.”

Tea bowl by Mitch Iburg.

Mitch views his ceramic process as a tool for translating the sweeping and often unfathomable phenomena that have shaped our world into something tangible. Personally, I feel that the focused intension and stubbornness of Mitch in his approach allows him to create unparalleled work that speaks to us emotionally.

It also reminds me of the philosophy of tea that Okakura Kakuzo describes in his “The Book of Tea“, which is a “moral geometry, inasmuch as it defines our sense of proportion to the universe.” I feel that Mitch’s lifework is a similar effort to grasp that sense of scale.

Tokkuri by Mitch Iburg

Sincere, precious, yet humble, the attraction of Mitch’s work is similar to how I feel about the ancient unglazed pottery made in Japan called Sue ware from the 5th and 6th centuries. They were the first non-porous types of ceramics made in Japan, using the technique learned from the more advanced Koreans, who in turn learned it from the Chinese. Perhaps it is because in both Mitch’s work and Sue ware, I feel the earnest joy to create something hard and useful out of something that is soft and brittle found in nature.

In the past six years that I have known Mitch’s work, I have often wondered how long he would be able to continue to make pots in the way that he does. So, it is delightful to see that he has expanded his body of work such as the wheel-thrown tableware that intrinsically preserves a sense of connection to nature while allowing him to use a broader range of materials. He also recently was a recipient of the Jerome Ceramic Artist Project Grant from the Northern Clay Center to re-examine the role of natural materials in the field of ceramic art.

Wheel-thrown tea cups by Mitch Iburg. Creating food-safe vessels require the use of commercial silica and feldspar, but Mitch still researches the parent rock and only introduces materials that are closest to the region.

Mitch says that his development was helped by many of his fellow potters in the wood-fire community, which has forged a special symbiotic relationship between established and emerging artists. He points to artists like John Jessiman in Virginia, Nick Schwartz in California, and Samuel Johnson in Minnesota that have played crucial roles in helping his evolution.

I would like to think that Mitch’s approach is proof that nothing has fundamentally changed since the time of the Sue potters. That efforts that are seemingly invisible make all the difference over time, and from the seeds sown by a community that is willing to work together will emerge trees that will grow and sway in the wind for many generations to come.

Northern Minnesota landscape
Photo courtesy of Mitch Iburg

Kindling Emotions: Functional Ceramics by Samuel Johnson

By:
Ceramics 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 13th 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.