Tag: Shigeru Inoue

New Kohiki Pots by Inoue Shigeru

By:
Ceramics 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.

Ceramics by Inoue Shigeru: The Intrinsic Power of Clay

By:
Ceramics Inoue Shigeru Tokoname

Mishima Ceramics by Inoue Shigeru in our shop->

Several years ago, I came across an image of a plate that moved me. The plate had stamp marks and lines inlayed with white slip on a rich, dark clay background.

Mishima koyomite plate by Japanese potter Inoue Shigeru

The plate had a restrained and earthy beauty with powerful appeal. I initially thought that it must be old, but it was new and even more surprising was that the plate was made by Inoue Shigeru, who at the time was an office worker living near the city of Nagoya and was making pottery in his spare time.

Arugula and orange salad in a hori mishima plate by Inoue Shigeru

“People said to me, you are crazy,” said Inoue-san, a slight man with gentle manners as he showed me the clay making area in his apartment’s back yard on a visit this past November. “I wanted to make pots like the beautiful Korean Kohiki (Buncheong) wares, but only by using natural materials, and it was horribly difficult,” he laughed. Some professional potters told him such efforts were stupid because it made no significant difference to the results which he disagreed with.

Clay making by Inoue Shigeru

Most Kohiki potters adjust the slip with refined chemicals because a slight incompatibility with the underlying clay can cause the slip to peel off or crack. But Inoue-san was adamant about using natural feldspar, because he believed that pure chemicals, although they are much more stable, “wouldn’t give the same effect as natural slip.” He is also particular about using weathered feldspar that are naturally exposed to rain and sun and harvested in nearby Gifu prefecture.

Kohiki slip can crack or peel off when there is incompatibility with the clay

The red clay body that Inoue-san is infatuated with comes from a clay shop from the nearby pottery town of Tokoname. The shop owners tell him that “you and the brickmakers are the only people who wants this crude clay.”

Predictably, Inoue-san’s Kohiki work failed miserably in the beginning. “Sometimes my pots all collapsed. Then I got a little better and managed to slip the wares, but the slip peeled off or cracked in the firing.” Inoue-san shook his head as he recalled these tough testing years.

Inoue-san holding the collapsed plates with ash glazes that came out of the kiln. The clay he works with has low refractoriness. He jokes that it was a spectacular failure.

After many failures, Inoue-san decided to regroup and instead of completely coating the surface, he started brushing a thin layer of white slip onto the stamped or carved surface of the dark clay and scraping off the excess that made the slip adhere to the clay better. These slip decoration styles are called Mishima because, according to one theory, Japanese tea masters who prized the original 15th Century Korean Buncheong ware in this style thought the patterns resembled the famous Mishima calendars published in Izunokuni (Shizuoka prefecture today) from the Kamakura period (1192-1333).

Inoue-san’s pots shrink by about 20% in the firing, far more than processed clay. He thinks this is because processed clays are pulverized and are much more dense than the natural clay that he’s works with.

Inoue-san’s work slowly became more successful, and as he shared his progress on social media, his work started to receive plenty of support from followers. Inoue-san never thought at the time that he would be a full-time potter. But after several acclaimed receptions at gallery shows around Japan, he decided to quit his office job 2 years ago.

Inoue-san now is creating a truly original body of work unlike anything I have ever seen. No two pots are the same, but each one is a perfect background for serving food. You can see his enthusiastic fans serving up on his vessels through social media.

Matcha in a hakeme (brushed slip) bowl by Inoue Shigeru

On his decision to become a full-time potter, Inoue-san says that “I’m happy if I can earn enough to continue making more pottery. I’m the sort of person that can’t try very hard if it was just for myself, but I get motivated and energized when people tell me they enjoy using my pots.”

Before leaving his studio, I asked Inoue-san why he thinks people have reacted so positively and emotionally to his rather unobtrusive work. He said, “I guess it’s because my pots are born from clay that is usually overlooked and I put them through lots of challenges, like not giving them support by adding chemicals and by firing them in prolonged strong reduction (when oxygen is deprived in the process) for almost 12 hours in a gas kiln. I think clay is just like people. The ones that survive the tough circumstances eventually show their deepest strength and shine.”