Tag: wood fired ceramics

When I was 5 years old, a guest stayed at our little apartment in Japan. In the morning, my mother served the usual breakfast of grilled salted salmon with miso soup and rice. Seeing that the guest carefully removed the skin of the salmon and left it on their plate, my young unfiltered mouth blurted out: “wah, you don’t eat the skin? It’s really tasty you know, it’s the best part…what a waste (mottainai)!”.

My mother to this day talks about this episode and how embarrassing it was for her because it was obvious that I wanted the guest to give me the salmon skin if they were not eating it. And for a long time after the incident, there was an uncomfortable glare coming from my mother whenever I sat down with guests at the dining table.

Kabocha pumpkin in a wood-fired black bowl by Shumpei Yamaki. Black is a great background for colorful fall vegetables and fruits.

Speaking of skin, the other food that I like to eat right now with skin are the kabocha pumpkins that are coming into season.

To prepare kabocha, I cut them up into generous chunks with the skin and put them in a shallow braising pan in a single layer. Then I add about ¼ -½ inch of water, drizzle a little olive oil, and sprinkle salt, cover and boil for about 10-12 minutes. The key is that there is enough water to boil and slowly reduce. After turning the stove off, all the water gets absorbed into the pumpkin leaving no liquid. I prefer this simple preparation to the normal Japanese recipe that calls for sake, sugar and soy sauce because I find that recipe too sweet.

Cooking in a braising pan with just enough water to be absorbed back into the pumpkin pieces.

The result are firm chunks of delicious pumpkin pieces that can be eaten hot or cold. And the best part is the contrast of texture between the skin and the pumpkin meat!

Whenever I’m served peeled kabocha, I say loudly in my head “mottainai“! And, you may be surprised that there are things that people eat with skin in the US that almost all Japanese don’t, such as peaches. The first time I saw my husband eat peaches with skin, I was horrified. Japanese generally like to eat fruit without skin, and I should do some research as to why this is for another blog post. In the meantime, enjoy your kabocha with skin, and maybe also your salmon skin? Otherwise, MOTTAINAI!

Kabocha pumpkin. Don’t remove the skin it’s the best part!

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

April 10, 2018Ceramics 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.

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.