Tag: Richard Bresnahan

Renewal: New Ceramics by Samuel Johnson

By:
Ceramics Samuel Johnson

Ceramics by Samuel Johnson in our shop ->

Exhibition of New Work by Samuel Johnson at Entoten Gallery, San Diego CA,
November 16, 2019, 12:00-4:00 pm

I was tingling with anticipation this fall as I awaited new work from Minnesota potter Samuel Johnson who said that he wanted to return to the roots of his early ceramics training and create altered painted tableware. I had never seen painted work by Sam, so I was very curious to see this style of his work.

Altered and painted bowl with flower motif by Samuel Johnson, 2019

Sam’s ceramics training began after he graduated from the University of Minnesota and became an apprentice to his mentor and teacher, Richard Bresnahan. Richard trained in Karatsu, which is one of the most well-known pottery towns in Japan, and later founded the Saint John’s Pottery at Saint John’s University since 1979. The process of learning under Richard was not dissimilar to how apprentices had learned for generations in Karatsu, which was watching and imitating the techniques of their masters.

Altered bowl by Samuel Johnson 2019. Sam stamped the bottom of the bowls with a waves motif (which he calls “wifi markings”). He applied blue slip, white slip, then painted and glazed the work.

Sam elaborated on what appears to have been a formidable and unforgiving learning process. “At night, after the work of the studio was finished for the day, I would be given a form to study and reproduce. The lessons came swiftly and only once. My teacher would move from his wheel to mine, throw a sample of the form he wanted me to make. This could be a small dish, an altered cup, a bowl with lid, or a bottle. He would say very little about it. The demonstration usually lasted just two or three minutes.”

For the next several weeks, sometimes even months, Sam would work to imitate the form. Eventually, Sam became very proficient at these forms and painted ware known as e-Karatsu (pronounced eh-Karatsu) that were versions of designs passed down for generations from Korea to Karatsu, and onto Minnesota.

Cup with ridge line and impressed cord pattern by Samuel Johnson. I love the corduroy feel of this cup.

But when his three-and-a-half-year apprenticeship was over, Sam decided not to reproduce these forms. He wanted to lean as little as possible on them so that he could open his eyes to new influences and nurture his own personal vision.

The reason he now wanted to return to these forms after a 20-year interlude was because he had been feeling unmoored in recent years as great political and social changes were occurring in the world at large as well as in his own personal life. He wanted to find out what he could create by returning to the place that gave him a sense of grounding, which was where he began training to be a potter.

The result of Sam’s journey to his roots is a set of refreshingly original work that is born from the deep experience and wide perspectives that Sam has acquired over many years of being a potter. His forms have a taste of Karatsu but they ‘feel’ very different because they are more robust. Maybe they carry the spirit of the vast Red River Valley where Sam grew up, well known even in Japan with the familiar tune of original Japanese lyrics about its nature. The restrained drawings of grass and flowers speak of the essence and power of regeneration, and the intentions behind the brushwork are very moving.

Apple crumble on Samuel Johnson’s small side dish. This is a traditional shape I have often seen in Japan, but its generous lip and size feels very American, which inspired me to bake an apple crumble. Sam says that pottery feels most meaningful to him when it can be used in daily life.

Sam explained that what came to the fore when he returned to these forms were not the pots of his apprenticeship but pots born from even earlier experiences. These were experiences of enjoying to throw dishes off the hump and altering them when wet, or loving the feeling of painting on them in a way that felt meaningful to him. “I loved the adaptation of these forms and the way they seemed to come to life through the process. It felt like rebirth. It felt like renewal,” Sam said.

Feel, Improvise, and Be Free: Wood-fired Ceramics by Shumpei Yamaki

By:
Ceramics Shumpei Yamaki

Work by Shumpei Yamaki in our shop ->

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.

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.