Mashiko Town, Haga County, Tochigi Prefecture, is a town where the original landscape of satoyama still remains. Mr. Toshifumi Tashiro is a potter who works hard in this town. Using a variety of unique techniques, he produces simple yet distinctive vessels with a unique texture and depth.

Guided by fate, he began his career as a potter.

Mashiko Town is located in southeastern Tochigi Prefecture. The town is famous for its Mashiko pottery, and the pottery market held in spring and fall attracts not only general customers seeking pottery, but also many artists who are involved in pottery and other forms of “monozukuri” (craftsmanship).

Mr. Tashiro has had his studio in Mashiko since 2007. Mr. Tashiro, who says he was born in Miyazaki Prefecture, became a potter in Mashiko through a series of coincidences.

The trigger was an invitation to join a club that was on the verge of being discontinued.

Mr. Tashiro was born in Miyazaki Prefecture, but because his father was a transferee, he spent time in Okinawa, Hakodate, Osaka, and other places in Japan before entering university.

His first encounter with ceramics was in high school. While attending high school in Osaka at the time, a friend invited him to join the pottery club, which was on the verge of being discontinued due to a lack of members.

I was dexterous with my hands, so I wondered if I was suited for it,” he recalls. He was attracted to ceramics and decided to attend the Nara College of Art and Design.

After graduation, he considered working at a pottery, but at the time, around 2002, it was the “ice age” of employment, and finding a job at a pottery was difficult, and he was not confident that he could suddenly start his own business. I was wondering if I should consider becoming an apprentice, when my father said to me, “Try as hard as you can. and a casual remark from a classmate, “I think you’re right for it. He decided to become an apprentice under Mashiko potter Seiichi Imanari.

Mashiko’s welcoming atmosphere for people from outside

I chose Mashiko because it has a relatively short history among Japanese pottery, and I thought it would have a climate that would make it easy for people from outside the prefecture to be accepted,” Tashiro said.

The history of Mashiko pottery, which is said to have started when Otsuka Keizaburo opened a kiln at the end of the Edo period (1603-1867), is only about 170 years old, which is certainly short compared to regions with centuries of history such as Bizen, Mino, and Arita. It is also an area with easy access to the Tokyo metropolitan area, yet rich in nature, making it an easy area to move to. In addition to potters, there are also bakeries and cafes run by people who have moved here from Tokyo and other cities, and many of these people cite “a climate that naturally accepts people from outside” when talking about the good qualities of Mashiko.

In addition, his mentor, Mr. Imanari’s idea of “polishing one’s sensitivity” had much in common with the policy of his teacher at the university and, above all, with what Mr. Tashiro himself wanted to do.

He worked as a live-in worker for about five years, and it was during that time that he learned how to handle a potter’s wheel and how to fire a kiln in particular. It was also a period during which he learned about the work of a “potter,” such as where to obtain clay and where to distribute his works.

A time-consuming and labor-intensive process, but necessary to produce the pottery he wanted.

In 2007, Tashiro began to think about becoming an independent potter, and was considering returning to the Kansai region when he happened to find his current studio.

Tashiro uses an electric potter’s wheel for shaping and a manual potter’s wheel for finishing. Since the speed of the electric wheel can be adjusted, many potters use the electric wheel from start to finish, using high or medium speed at first and then using low speed for the finishing process. However, Mr. Tashiro is particular about using a hand wheel for the finishing process.

With an electric potter’s wheel, even if you turn it slowly, it will be regular, and the shape of the vessel you are making will inevitably give a cold impression. With a hand wheel, it takes more time, but the rotation is a little more irregular, so it gives a warmer impression.”

Tashiro’s vessels are mainly thinly made with delicate forms. However, Mashiko clay has a tendency to be sandy, less viscous, and easily cracked, which is why most “Mashiko-yaki” has a thick appearance. Therefore, Tashiro mixes Mashiko clay with clay from other regions to create clay suitable for his own works.

I try to make simple yet expressive vessels with an emphasis on texture,” he says. However, I believe that the vessel is only a tool, and the food is the star, so I put emphasis on how the food looks when it is served in the vessel. The vessel itself should not make a strong statement. Ease of storage. As a result, I think the dishes will last for a long time and never grow tired of being used. says Tashiro.

Nama-kake,” a process of glazing without firing.

Mr. Tashiro is particular about the firing method, saying, “I want to create expressive and soft textures.

In general, pottery is made by forming a vessel from clay, drying it, and firing it at a low temperature. This is called “unglazing,” and after unglazing, glaze is applied, followed by “honyaki” to add color (there is also a technique called underglaze glazing, in which color is added after unglazing). Unglazing increases the strength and water absorbency of the vessel, so the vessel does not collapse when liquid glaze is applied, and the glaze can adhere to the fabric.

However, Mr. Tashiro does not use this unglazing method, but instead uses a method called “nama-kake,” in which the glaze is applied while the vessel is still half-dry, and then the vessel is fired.

However, the strength of vessels made of thin, half-dried clay is low. It is only natural that liquid glaze would cause the vessels to lose their shape. Even if glaze is applied without destroying the shape, problems are likely to occur later. The clay of the vessel itself contains water, which evaporates and shrinks during drying and firing. However, the glaze does not shrink as much at that point, making it easier to peel off from the fabric. If the vessel were unglazed, the liquid (glaze) would be applied to the water-absorbent state (dry clay vessel), so it would absorb water and shrink at about the same rate, increasing the adhesion between the vessel and the glaze, but Mr. Tashiro dares not do this.

However, Mr. Tashiro dared not to do so. “Because I was doing something special, things did not go well at all for about three years after I started my own business…. It was much harder than the time I spent as a live-in trainee,” says Tashiro.

Why did he choose such a difficult method?

The reason lies in Mr. Imanari, under whom Mr. Tashiro studied. Mr. Imanari’s roots as a potter originally come from Bizen Pottery in Okayama Prefecture. Bizen ware is characterized by long hours of firing at high temperatures without unglazing or glazing. In the process, he also paid attention to the “Nama-kake” technique that his master sometimes used. He wanted to create his own unique style that was different from others, and he thought it would broaden the range of his original expression, so he began to actively use “nama-kake” in addition to yakijime, and that was the beginning of his difficulties.

Trial and error was used to determine the clay mixture, the type of glaze, its density and thickness, and each combination, with repeated failures. Based on the method of applying glaze only to the inside of the vessel, Tashiro pursued his ideal form and texture of the vessel. By glazing only the inside of the vessel, the shape is maintained, while the outside has a soft clay texture. Through repeated fine-tuning, Tashiro now applies clay to the outside with a brush and adds glaze to the inside with a compressor to create the “expressive texture” that he envisions.

Painting with a brush or spraying with a compressor takes time and effort. Thinning also entails the risk of distortion. Nevertheless, Tashiro enjoys the change in texture and feel of the finished product after overcoming this time-consuming process, and he continues to go through a process of trial and error every day in order to give shape to the vessels he aims to produce.

When asked if the technique has a name, he replied, “I haven’t decided on a name. It’s like a one-shot firing…,” he smiles.

The delicate form and simple texture of the clay. The shading and flow of the glaze, which cannot be found in homogenized products. At first glance, the pieces look simple, but one cannot help but feel the skill and thought that went into every detail.

Creating products with value, with an eye toward new challenges

Mr. Tashiro continues to steadily increase the number of fans of his vessels through his many activities such as solo exhibitions and special exhibitions, and he never misses the “Mashiko Pottery Market” held every spring and fall.

When asked about his future outlook, he replied, “I am facing some difficulties due to the recent rise in prices of materials. However, I hope to continue to express myself with my unique sensibilities and techniques and create products that people can feel the value of. I hope I can continue to express my unique sensibility and technique and create products that people can feel the value of.

His wife, Hiromi Suzuki, also works as a potter at his current studio. They hope to continue their activities in Mashiko, a place they both love.

In 2022, his vessels and vases (oysters) were collected by the “Ceramic Museum of Ibaraki. Some French and Western restaurants in and outside of the prefecture have asked to use Tashiro’s vessels.

This has led to an increase in business with French and Western restaurants in Utsunomiya City. It makes me very happy to have my tableware used in a “special place to eat,” says Tashiro. The inspiration and inspiration he receives from the restaurants he meets with and delivers to are also utilized in his current production concept, and after much trial and error, the tableware he has arrived at has become something that is sure to captivate.

In the future, Tashiro hopes to broaden her horizons by creating not only vessels, but also objects, which she studied as a university student, and other figurative works such as interior decorations. Expectations for new developments are high.

The post Tashiro Michiaki, a potter who continues to create expressive vessels with his hands and time / Mashiko Town, Haga County, Tochigi Prefecture first appeared on NIHONMONO.

Tobe pottery was born in the town of Tobe, Ehime Prefecture, and boasts a history of 250 years. Currently, there are about 80 kilns, one of which is the “Midorikogama” run by Shigeki Kameda (Midoriko) and his son Shigetomo. They are pursuing an unprecedented expression of blue-and-white porcelain by taking advantage of the characteristics of Tobe’s clay.

Tobe Pottery has been handcrafted for 250 years.

Tobe ware, produced in and around Tobe Town, Ehime Prefecture, has been handed down since the mid-Edo period. It began in 1777, when Yasutoki Kato, the lord of the Oshu domain who ruled this area, ordered the production of porcelain as a new specialty. Tomochi had long been known for its whetstone, called “Iyoto,” and he wondered if it would be possible to use the waste stone produced when the whetstone was quarried as a raw material. Josuke Sugino, who was entrusted with this development, succeeded in firing porcelain in 1777, despite repeated failures. This was the beginning of Tobe ware.

During the Edo period (1603-1867), there was little information available from other clans, so the pottery developed only with its own techniques, but during the Meiji period (1868-1912), techniques from Kyoto and Karatsu were introduced, and in the early Taisho period (1912-1926), tea bowls known as “Iyo bowls” were well received overseas, and exports accounted for much of the production volume. After the war, there was a period of decline due to modernization, but a turning point came in 1953 when Muneyoshi Yanagi and Shoji Hamada, promoters of the folk art movement, visited Tomochi. While other production centers were turning to mechanization, the quality of Tobe pottery, which is made by hand, was reevaluated. Under their guidance, the prototype for modern-day Tobe ware, in which thick white porcelain is painted with arabesque and chrysanthemum designs in gosu, was created. In 1976, Tobe ware (four types: white porcelain, some-glaze works, celadon, and tenmoku [iron glaze]) was designated a national traditional craft.

A kiln of Tobe ware that has continued for half a century

The Ryokko Kiln was opened by Shigeki (Ryokko) in 1974. The kiln was named “Midorikogama” after the lush greenery of the original location where he opened the kiln and after the name of the “Houkogama” kiln where Shigeki learned pottery making.

Shigeki is a master potter who has won numerous awards at the Japan Traditional Crafts Exhibition and the Japan Ceramic Art Exhibition, and was registered as an intangible cultural asset by Ehime Prefecture in 2019. His current studio is located in Kitakawage, Tobe Town, and also serves as a sales and gallery. The wide range of items on display includes everyday use vessels, couple’s tea bowls, and flower vases of various sizes, as well as traditional and new styles.

A potter’s path started with his father as a mentor

With his father as his teacher, Shigeyu began his career as a potter at the age of 26. His blue-and-white porcelain sculptures have won numerous awards at the Japan Traditional Crafts Exhibition, the Japan Ceramic Art Exhibition, and other exhibitions.

Most of Tomoitomo’s pottery is used in daily life. Our main production is tableware,” he said. I also try to make large pieces for exhibitions. If the size of the vessels is too large, I have to create a design that will not be overwhelmed, so it is difficult to find the right balance,” says Motomo.

He continues to challenge himself to create new expressions by using a variety of techniques, such as carving patterns and glazing in a gradation of colors.

Use local materials. Depth is born from restrictions.

The characteristic of Tobe ware is its beautiful white porcelain surface with a sense of transparency. This is due to the unique clay of Tobe.

Tomochi says, “Tomochi pottery is not pure white like Arita-yaki, but has a slight grayish tinge. Therefore, it is necessary to take advantage of the characteristics of this clay when painting. Even if you use Arita-yaki clay for arabesques, the coloring is different,” says Shigeki.

The clay of Tomochi contains iron, which makes it easy to produce blue colors. In the end, when I was doing something that suited the clay, it naturally took this shape,” he says. This is what Tobe pottery is all about,” he says, with a sense of conviction backed by many years of experience.

Recently, an increasing number of porcelain production areas are importing raw materials from other places, and the true meaning of “production area” seems to be disappearing, but the duo is determined to use only the soil from Tobe.

However, the duo is determined to use only the best clay from Tobe. “If there is one restriction, we can pursue it in depth within that range. So I think it is better to have restrictions. If I can take an approach that has not been seen in previous Tomochi pottery, it will become my new expression. That is what I have been pursuing for the past 10 years or so,” says his son, Shigeyu. He has been pursuing his own expression in a very honest manner.

Seeking the possibilities of blue-and-white porcelain and creating an expression that only he can create

Blue-and-white porcelain, with its translucent shades of blue that ripple and spread, is synonymous with Ryokko-gama.

Blue-and-white porcelain is made from porcelain clay made from white stones and fired with a glaze containing a small amount of iron. The molten blue glaze collects in the engraved patterns and creates a beautiful puddle-like expression.

The difficulty with blue-and-white porcelain lies in the fact that the thicker the glaze is applied, the more stress is placed on the vessel during the firing process, making it susceptible to cracking. The thicker the glaze is applied, the more beautiful the shading will stand out, but if too much is applied, the glaze will run into unintended places. This is where the skill of the craftsman really shines.

The wavy patterns are carved. After carving with a round carving knife, Shigetomo polishes and smoothes the surface before applying the glaze.

The glaze melts and flows a little during firing, so the glaze in the mountainous areas flows a little to the left and right. The glaze in the mountainous areas flows a little to the left and right, and the glaze in the valley areas accumulates and the color becomes darker. This is how gradation is created.

This is the same principle as seawater. If you scoop sea water, it is clear, but the sea itself looks blue. Even if the same glaze is applied, the thickness of the glaze makes such a difference.

Although he creates his pieces with an image of how the glaze will flow in advance, he does not know how they will turn out until after they are fired and pulled out of the kiln. Unlike painting, it is not possible to create a clear design with colors, which makes it both interesting and difficult. The two say that this is one of the most exciting aspects of ceramics.

Aiming to create vessels that fit comfortably in the hand

Tomochi’s pottery is for daily use. That is why Shigetomo also places importance on the user’s point of view. The blue-and-white porcelain teacups he makes have an uneven surface due to carving, so they are easy to hold even when hot tea is served. This is where I feel the beauty of utility.

When choosing tableware, I want people to hold it in their hands and choose the one that fits comfortably in their hands,” he says.

Passing on skills to the next generation

In recent years, an increasing number of potteries have been closing due to a lack of successors and the aging of the workforce. The aging of the kiln operators is very noticeable. How to nurture the next generation is a major issue,” says Shigeki with a sense of crisis.

The road to mastering Tobe pottery is a long one. The simpler the piece, the more difficult it is to make.

At first, there are many failures, and I sometimes feel like giving up. But if you don’t get over that, you won’t be able to master the technique. It is important to learn the basics until you can express yourself. If you don’t have a ready supply of techniques, you will eventually get stuck,” says Shigetomo.

Together with the clay of Tobe, they continue to seek new expressions beyond tradition. From their backs as they work silently on their ceramics, I could sense their deep love for Tobe pottery, which boasts a history of 250 years.

The post Half a century of working with the soil of Tobe. Midorikogama, a father-and-son potter seeking new expression in blue-and-white porcelain / Tobe Town, Ehime Prefecture first appeared on NIHONMONO.

Kikigama is located in Chikushino City, where Amagaisan (Mt. Amagaisan) spreads out in the midwestern part of Fukuoka. Takaaki Yoshida, who has a studio and gallery in a lush residential area, does everything by himself, from clay making to potteries, painting, and kiln firing. His pottery has the flavor of old pottery and attracts many people.

From Graphic Design to Vessel Making

Mr. Yoshida says, “I started late as a pottery maker. First, he majored in graphic design at university, but during his studies, he became attracted to three-dimensional industrial design instead of two-dimensional graphic design. After graduation, he wanted to do work that incorporated graphic design into three-dimensional objects, and that’s when he came across vessels.

I felt a sense of luck that Saga, a production center of tableware, was located next to Fukuoka, where I was born and raised,” he said. At the time, he knew nothing about pottery and spent two years at a pottery college in Arita, Japan, learning the basics. After graduating from the university, he went to Shigaraki in Shiga Prefecture to study pottery making until he was satisfied with his decision to pursue this career. While studying at the “Shiga Prefectural Ceramic Cultural Park,” which houses studios of ceramic artists from Japan and abroad, he immersed himself in the production of chair objects, hoping to create art that could actually be used.

Training at a Karatsu Pottery Became a Turning Point

Mr. Yoshida says, “Apprenticeship at the Tenpyo Kiln in Karatsu was a turning point for me. The kiln was known for its old-fashioned, antique-style pottery, and produced a wide variety of pottery with wonderful painting techniques, including “Sometsuke,” in which blue is the only color used, and “Iroe,” in which a variety of colors are used. Mr. Yoshida, who has been pursuing his own path in graphic design and art production, says, “I was very much influenced by my teachers, Mr. and Mrs. Shingo and Satsuki Oka. It was here that the foundation for Mr. Yoshida’s tasteful pottery was formed.

Pursuing his own style after becoming independent

After becoming independent in 2007, Mr. Yoshida spent his days going deep into the mountains of Arita to search for materials such as potter’s stone and clay, hoping to use the same materials as those used by his predecessors 400 years ago. At the time, there were not many potteries that started with the search for materials, so I thought there was room for me,” he says.

But that was like a sushi chef growing rice, catching tuna on a boat, and making sushi. It takes too much time and costs too much, and if you do that, you have to make expensive items such as sake and tea utensils to make a profit,” he said. Through a process of trial and error, Mr. Yoshida turned his attention to making everyday vessels that he truly wanted to produce.

Aiming to create vessels that look like old pottery

Yoshida’s vessels are made of “porcelain,” a clay made from crushed stones, but their warm, natural form gives the impression of softness, just like ceramics.

The warm, natural form of his vessels gives them the soft impression of ceramics, and the slightly bluish texture of his antique-like pieces is the result of mixing clay from Amakusa, Kumamoto, with crushed stones he has dug up.

Today’s clay is too white and tasteless,” he says. If you look at old pottery pieces, they were more uneven and had more expression because there was no such thing as a de-ironing machine to remove the iron like today. I add stones that I have dug up myself with the intention of making them a little dirty so that they don’t become too clean,” says Yoshida. The glaze is made of crushed ash from stones dug in the Arita area. He makes his vessels using the traditional combination of stone and ash.

When using the potter’s wheel, Yoshida emphasizes the importance of momentum. Many people are highly skilled at carefully turning a potter’s wheel, but I think it is interesting when I let my momentum guide my work. As my master told me, I am attracted to pieces that are not too tightly made, but have a “blank space” for people to enter,” he says.

Painting in blue using old-fashioned gosu

The painting of the pieces cannot be overlooked when talking about “Kikkigama. Mr. Yoshida chose an old technique called “Somezuke,” in which cobalt-containing pigments called gosu are used. When fired, the finished product has a simple blue color.

However, the painting is only one part of the vessel. I try to make the lines live,” he says, “even if they are a little off or overhang, so that the painted surface has a sense of blank space. The paintings are traditional patterns such as small patterns, chrysanthemums, birds and animals, and so on, like Ko-Imari paintings from the Momoyama period to the beginning of the Edo period. The lively patterns created by the vigor of the brush are inspiring just by looking at them.

What is surprising is that Mr. Yoshida has decided to “never paint the same pattern. It is said that a craftsman is highly skilled only if he paints dozens or hundreds of the same picture, but I am not suited to keep painting the same thing,” says Yoshida, laughing. Each mug has a different pattern, so it is fun to choose which one suits you best.

Yoshida invented the “prime number design,” which represents prime numbers in Chinese characters.

While there are many other potteries besides Kikki-gama that make pottery that looks like old pottery, there is one pattern that Mr. Yoshida has created. He created the “prime number pattern,” in which prime numbers are randomly written in Chinese characters. Prime numbers are “undivisible,” aren’t they? I have always loved prime numbers because I feel the emotion of the human heart that cannot be divided,” says Mr. Yoshida. Another popular work is the humorous “Ku (bitterness) Laughing Text,” in which the hiragana character “Ku” is lined up in a row. Ms. Yoshida’s light sensitivity makes the familiar seem fresh.

Mr. Yoshida’s Challenge Continues as He Eyes the World

When asked about his future plans, Mr. Yoshida’s eyes light up as he says, “Right now, I am using a gas kiln, which is easy to reproduce and produces vessels exactly as I want, but eventually, I would like to try a wood-fired kiln. It takes more time and effort, but a wood-fired kiln is the best way to get closer to traditional pottery. Because firing is done by natural forces and cannot be controlled, the clay and glaze sometimes change in unexpected ways, and you can expect to make things that are beyond your imagination. Also, overseas customers seem to find added value in the traditional wood-fired kilns,” he says.
Yoshida’s pottery has received many orders from overseas, including Kanto, Kansai, and the United States, and there is currently a two-year waiting list. The texture of his pottery, which looks as if it were made 400 years ago, and his lively painting have captured the hearts of people living today, transcending national borders. Today, in his small workshop, daily vessels that enrich people’s lives are being created.

The post Old painted ware is made into vessels that are a part of today’s life. Kikigama” by Takaaki Yoshida / Chikushino City, Fukuoka Prefecture first appeared on NIHONMONO.

Tsuyoshi Ikenishi of “Fugengama” continues to make pottery based in Imabari City, Ehime Prefecture. He reads and translates old pottery from the Nara and Heian periods to the early Edo period, edits it with his own sensibility, and expresses it. We came into contact with Mr. Ikenishi’s thoughts as he approaches pottery from his unique point of view and approaches its essence.

A chance encounter led him to pottery

Ikenishi first encountered pottery when he was 19 years old. He happened to pick up a book on pottery at the library and found a bowl in it. It was a Shino ware tea bowl named “Hagoromo. Mr. Ikenishi, who had never been involved with pottery in his life, was completely fascinated by this several hundred year old tea bowl.

At the time, he was living in Tokyo and passionate about his musical activities, but he found himself visiting antique stores. The first thing he acquired was a cracked pot from the Yi Dynasty (a Korean dynasty that lasted from 1392 to 1910). He picked up the jar and continued to look at it whenever he had time.

The more he looked at them, the more he wondered, “How did they get such textures and lines? The more he looked at them, the more he wondered, “Why do they have such textures and lines?” He asked around in antique shops and galleries, but could not find a satisfactory answer. Then one day, he thought, “If I try to make something by myself, I might be able to understand something,” and he began to touch the clay.

Learning through experience rather than technique

I believe that knowledge should never outweigh interest, so I sought out hands-on experience. Even now, there are many things I can learn from my work,” he said.

Ikenishi’s stance on pottery is based on actual experience, not theory.

He has traveled to various production centers, including Seto Mino, Tanba Bizen, and Korea, and has touched the clay, held the fire, and held the tools at kilns that maintain ancient techniques. He believes that the greatest lesson in pottery making is “what you can feel on site.

Eventually, there were people who wanted to see his work, and he was asked to hold a solo exhibition. It was not until he was 27 years old that he decided to get serious about pottery and make it his profession.

From Tokyo to Ehime, a place with deep connections

Ikenishi was born in Osaka and devoted himself to music in Tokyo, but as he continued to make pottery, he moved back to his roots in Ehime Prefecture, his parents’ hometown. He had spent his high school years in Saijo City, so moving to Ehime was not completely new to him.

The natural surroundings and quiet environment were perfect for immersing himself in manufacturing.

Since then, he has continued to produce pottery at his kiln in Imabari City, Ehime Prefecture.

Human Activities Engraved on Pottery

For Ikenishi, pottery is a condensed form of human information.

He says, “Pottery is a hardened product of people’s hands. Everything is recorded, including the historical background, the environment in which it was used, and the thoughts of the creator. The more I try, the more I think that there is nothing else out there that has as much human information.

He is particularly interested in pottery from the Nara and Heian periods to the early Edo period. Although there is a lack of written materials from that period, he says that the fact that the objects have survived is what makes them meaningful.

Looking at works of art is a process of deciphering and extracting information. As long as you have the will to do so, pottery can provide you with any amount of information.

Pottery Making is Translation and Confirmation

Ikenishi looks at ancient pottery, translates what attracts him in his own way, and edits it with a modern sensibility. For Ikenishi, pottery making is a confirmation process.

If there is no need to show it to others, I can just read it and be satisfied with myself,” he says. But as long as you are presenting it to the public, you have to edit and translate it. Translation is the process of putting together what you feel into a form, rather than conveying it as it is. When people buy my work, I feel that I have to put it in the realm of what I think is good. I don’t mean to say that it is equal to or better than something else,” he says.

He did not set out to become a potter from the beginning, nor does he remember ever having done so.

The reason he describes himself as a “ceramic maker” is because his attitude has not changed since his first encounter with pottery.

In pottery, the material is everything. All we do is edit.

The quality of pottery depends on the materials. The choice of kiln, the way of filling, and the way of firing are all determined by the materials.

Making the most of the materials is the key to pottery making. With this in mind, Mr. Ikenishi is working to reevaluate each production area and material.

There are three types of kilns: anagama, climbing kiln, and small gas kiln. They use one kiln for each material and each type of pottery they want to express. The gas kilns are more difficult to use and require more delicate adjustments to fire the pieces as desired.

The kiln transformation that occurs during firing is truly the wonder of natural chemical reactions,” he says. People in the past made the most of what was there before they thought about it. People today try to look at it with modern techniques, which makes it difficult. I think that today, the balance is such that the decline of our animal abilities is balanced by the development of chemistry and other techniques,” he says.

Working with galleries that share the same passion

At present, he has narrowed down the number of galleries that directly handle his works to two trusted ones, in addition to “Gallery Labo” in Saijo, Ehime Prefecture. He has been involved with a variety of galleries, but he feels that unless the relationship is balanced in terms of passion for pottery, it will not last for a long time.

The two sides, the maker and the seller, may be in different positions, but if they do not share the same passion for pottery, they cannot build a good relationship. It is a business, but it is also an exchange between human beings, so you need a partner who can resonate with you,” he said.

Even if you are not knowledgeable about the pottery, do you have the enthusiasm to convey that knowledge? The gallery, which stands between the viewer and the pottery, is also important to the creator.

I will never do the same thing twice. That is my rule.

Since the starting point of pottery making is “checking,” Ikenishi’s rule is that he will never do the same thing the same way twice.

When he is not working with clay, he thinks about how to match the materials, how to fire the pieces, and the details of the modeling. This is quite important, and I think it is more important than the actual work.

In a world where materials, tools, and techniques are all intertwined, Ikenishi approaches each pottery-making session as a one-time event.

Even kiln changes are inevitable, not accidental, and require skill and sensitivity to control. For this reason, he repeats the checking process of “looking, translating, and editing.

The more he does, the more he becomes interested in pottery that he had not been so interested in before, and he makes new discoveries. So I never get bored. However, although I don’t dislike making pottery, I have never found it particularly enjoyable. In fact, I like looking at and using pottery much more than making it,” he says.

Blissful days spent looking at and using pottery

Because I make pottery for a living, I am able to buy other pottery and acquire old pottery. People buy what I make. I use the money to buy pottery, get information from it, edit the information, and give it shape. Then people buy it again. The act of making and the act of acquiring are in a cycle,” he says.

The first time he uses a piece of pottery he has made in this way, he says, is the greatest joy of his life.

After the day’s work is done, when I drink sake, I think about which sake cup and sake cup I will choose today, and that is the most enjoyable part.

Ikenishi’s curiosity, which is a straight line between his personal and professional life, never seems to run out.

There are so many things I still have to do that there is no limit to what I can do. It is not a question of what to do in the future, but what not to do. Behind these words lies a passion that continues to burn quietly and an endless quest.

The post Challenging the old masterpieces. Never-ending interest in pottery “Fugengama” / Imabari City, Ehime Prefecture first appeared on NIHONMONO.

A New Way of Art in Japan

Nestled in a forest of lush green trees in Tajimi City, Gifu Prefecture, is a gallery in a 120-year-old sukiya-style building. It is Galerie Momogusa. Sukiya-style architecture is an architectural style that reflects the philosophy of “wabicha” (tea ceremony) perfected by Sen no Rikyu, a rare tea master in the Azuchi-Momoyama period (1573-1600). Opened in 1998, “Galerie Hyakuso” exhibits a wide range of works from antiques to antiques and contemporary art in a space where one can feel the unique “wabi and sabi” of the Japanese people, such as an earthen floor and an alcove across the threshold. The exhibition space is filled with a wide range of artworks, from antiques to modern art. The unique atmosphere of the space, which combines the familiarity of a living space with the tension of an avant-garde gallery, naturally attracts visitors not only from Japan but from around the world as well. I wanted to question the identity of the Japanese people and propose a new way of art,” says Masanobu Ando, ceramic artist and gallerist, who is the owner of the gallery. Masanobu Ando, the owner of the gallery, is a ceramic artist and gallerist.
Mr. Ando’s roots go back to his days as an art student aspiring to become a jazz drummer. He devoured records by Miles Davis, Charlie Parker, Thelonious Monk, and many other jazz musicians, played the drums, and tried to express jazz in his own way. However, the more I listened and the more I played, the more I realized that I could never reach their innate sense of rhythm and groove, and I felt limited.

The beauty of “vessels” that blend into everyday life

When I thought about what they call “jazz” in the case of Japanese people, I came up with pottery and tea ceremony. Although tea culture is no longer a common part of modern lifestyles, the way in which tea is served and the way in which the space is furnished for entertaining people are expressions unique to native Japanese. In addition, Japanese art is not based on Western values that place “crafts” at the bottom and “pure art” at the top, but is linked to “daily life,” which lies somewhere between the two. The realization of this idea was the pottery that Mr. Ando creates and “Galerie Hyakuso” itself. The common point between the two is that they both have blank spaces and leave the usability to the creativity of the user.
Ando’s handmade vessels can be used for both Japanese and Western purposes without limiting their use by eliminating unnecessary decorations. Therefore, his vessels can have a completely different appearance depending on the user. Many people shared Mr. Ando’s view that pottery, which is neither ornamental art nor mass-produced industrial goods, is a uniquely Japanese form of art that is more noticeable the more it is used in daily life. However, it is also a latent desire originally possessed by the Japanese. The reason why so many people from overseas and all over Japan visit “Galerie Hyakuso” is that it reawakens a sense of beauty that modern people have almost forgotten.

NIHONMONO – 「にほん」の「ほんも…

あるがままに現代の民藝を 陶芸家・村上雄一／岐阜県土岐市 – NIHONMONO 焼き物の町・岐阜県土岐市に工房を構える村上雄一さんは、モダンで実用的なうつわをつくる新進気鋭の陶芸家です。決まった様式や素材に囚われず、洗練されたデザインのバラ…

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Southeastern Gifu Prefecture. The region known as “Tono” is home to Tajimi City and Toki City, which have long been known as pottery production centers, and is a well-known mecca for pottery, where raw materials for pottery production are readily available and artists gather from all over the country.

The roots of Tatsuya Hattori

Tatsuya Hattori, a ceramic artist, grew up in Tajimi City, where things related to ceramics, such as potter’s wheels, kilns, ceramic artists’ studios, and factories that mass produce ceramics, are part of the daily scenery. Because he grew up in an environment where these things were so integrated into daily life, he did not feel that they were special, nor did he consciously come into contact with them. As a boy, he loved to make things and draw pictures, but he never thought he would choose a job related to the local ceramics industry, as he was not in an environment where he had to take over the family business. Here in Gifu, it is very rare for someone like Mr. Hattori to grow up in his hometown and then go on to become a ceramic artist. However, he could not imagine himself working as a “normal” office worker, so he entered a pottery class on a whim and was awakened to the joy of making things, and decided to pursue his career. Later, he enrolled in the Tajimi City Ceramic Design Institute, where many students from outside of the prefecture gathered. He had never even touched clay for pottery, except for a little sketching when he was studying at art college. People who came to study pottery usually had some connection to pottery, such as a family history of pottery making, so it was unusual for someone like Mr. Hattori to become a potter in his own lifetime. He engaged in friendly competition with other students who had high aspirations to become potters, and he faced the potter’s wheel more than anyone else, aiming to establish his own style of work.

Among the various works she encountered, it was the work of Austrian artist Lucy Lee (1902-1995), who was active in the United Kingdom, that struck a chord with Ms. Hattori. The exhibition in Osaka in 1989, for which the architect Tadao Ando designed the space, attracted much attention and confirmed her popularity in Japan. Even after her death, many collectors continue to seek out her works, and a pair of her tea bowls now fetch as much as several million yen.
The simple forms of her works are filled with elegance. Smooth curves that encompass a dignified air and softness. The rich colors she has created by reinterpreting traditional techniques. She says, “Ceramic art can be so free. The incomparable beauty of his art-like works resonated with Hattori and broadened his image of ceramics. And, to pursue new expression without being bound by existing values. Following the attitude she felt from her work, she began to ask herself how she could express herself in her own unique way.

The ideal ceramics

Mr. Hattori’s ideal was to create ceramics that would not fade over decades and would bring him joy every time he used them. Since he calls himself a ceramic artist, he wanted to give form to something that is not commonplace, something that gives a special feeling. One of the masterpieces he created in this process is the black and silver mug. The matte-black surface is contrasted by the silvering on the inside of the mug. The more this gorgeous silver coloring is used, the more it oxidizes and becomes “smoked silver,” which adds to its flavor. The cup is easy to drink and hold, yet it is also easy to use. Formative beauty and functional beauty. Mr. Hattori has pursued the compatibility of these two “beauties,” which seem to be close but at the same time contradictory.

I put my family through a lot of trouble until I was able to make a living with ceramics, but I want to continue in my current environment where I can work within earshot,” said Hattori, who is now based in Toki City. He says he will continue to work alone, with no assistants. Therefore, he cannot make a large quantity of works, but he spends a lot of time with himself and his works. He spares no effort in making a piece or two, and he does so carefully. The products produced by Mr. Hattori’s hands, with care and attention to each and every detail, bring a quality of relaxation to those who use them.

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World-class ceramic artist

Craft” or “art”? The question of which market to market a work is an unavoidable one for a ceramic artist to become independent. Roughly speaking, the former tends to be evaluated on the basis of practicality and utility, whereas the latter often demands originality and novelty in the form of the work and the artist’s own worldview. It is quite a difficult task for a ceramic artist to balance both of these. Takuro Kuwata, who has a studio in Tajimi City, Gifu Prefecture, is an artist in a unique position in the art world.
While using traditional techniques often seen in his classical works such as “Kairagi” and “Ishibaku,” Kuwata’s works, which actively incorporate shapes and vivid colors outside the boundaries of ceramics, have been highly acclaimed at art fairs around the world. In addition to collaborations with Loewe and Tod’s, he has also attracted attention from the fashion industry, including an installation at the Trading Museum Comme des Garçons.
One of the things that led him to his current style was seeing an exhibition of Shino ware by Toyozo Arakawa, a living national treasure ceramic artist. One of the things that led to his current style was when he saw an exhibit of Shino ware by Toyozo Arakawa, a living national treasure. I decided to interpret this in my own way and do modern Shino,” recalls Kuwata, who at the time was making simple white porcelain pieces that one would never imagine from his current style.

Into the world of art, not crafts

He was also moved by the unexpected pop of color that resulted from mixing pigments by eye, which should normally be weighed. He immersed himself in reproducible color expression, intentionally trying to create the excitement he felt when he opened the kiln. As a result of following the voice of his heart and continuing to create works of art, he was approached by Tomio Koyama Gallery, a well-known gallerist who is known as an international promoter of Japanese contemporary art, and he began to work in the art world.
Later, however, Mr. Kuwata faced the difficulty of being “free. The gallery demanded new and interesting expressions. Works that were considered unconventional in the world of crafts were equally unappreciated in a place where there were no restrictions. The knowledge of reality led him to move further away from the concept of practicality, and to become more radical in form and color.
In other words, Kuwata’s works have evolved by carefully unraveling his communication with others and incorporating new values. Once he gains a perspective that he did not have before, he incorporates the new world he sees from that perspective into his own. Although he himself does not change, he incorporates various stimuli as variables in the process of creation, and as a result, he creates something new. This has been recognized not only in the world of crafts, but also in contemporary art, and has even become known to the cutting edge of the fashion industry, such as Loewe and Comme des Garcons, and continues to expand the scope of his activities.

I want to be part of such a cycle,” he says. I want to be part of such a cycle,” he says, and he will continue to create works full of surprises in the future.

NIHONMONO – 「にほん」の「ほんも…

時が経っても色あせない陶磁器 陶芸家 服部竜也/岐阜県土岐市 – NIHONMONO 美濃焼きとは 日本三大焼き物は美濃焼・瀬戸焼・有田焼の三種類だと言われている。その一つである美濃焼は岐阜県の多

NIHONMONO – 「にほん」の「ほんも…

自由奔放な作風で人々を魅了する陶芸家 青木良太さん/岐阜県土岐市 – NIHONMONO 「陶芸オタク」と言わしめるほどの研究実績に裏打ちされた確かな技術力で、既成概念にとらわれない作品を発表し続け、陶芸の日本代表になろうとしている美濃焼の作家・青木…

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A potter who loved Shino ware

Mino Ceramic Ware” boasts the largest market share among ceramics produced in Japan. Its characteristic is that it is “featureless. Mino ware is defined by the fact that it is produced in the Tono region of Gifu Prefecture (formerly Mino Province), and that it does not have a unique style like Kutani ware or Arita ware. Mino ware, which has been naturally integrated into the daily life of Japanese people because of its ease of use, evolved the most during the Azuchi-Momoyama period, when the tea ceremony culture flourished. It is said that Oribe Furuta, a cultural figure who was both a warlord and a tea master, had potters create “Oribe,” a style that favored bold distortion. Four representative styles called “Kiseto,” “Setoguro,” and “Shino” were then created, and have become a commonplace part of the Japanese dining table to this day.
Toki City, located in southeastern Gifu Prefecture, is the largest producer of ceramics in Japan and is known as a mecca for pottery. Ms. Yuka Hayashi, who has her studio here, is a ceramic artist who loves “Shino” and can embody the style in a new interpretation. Shino” is made of “Gotomaki” clay, which has a high refractory temperature and is less sensitive to firing, and “Mogusa” clay, a white clay with low iron content and a slight purple or pinkish hue, which is then covered with a generous amount of white feldspar glaze (Shino glaze). The characteristic features of this thick clay are the fine texture of the cracks in the clay, the gentle milky white color, and the numerous small pores on the surface called “yuzukabe”.

A vessel overflowing with gentleness and beauty

It was not by chance that Mr. Hayashi started making “Shino. In other words, it was fate. Born in Hyogo Prefecture, he spent his childhood in Toki City, Japan, until he entered a university in the Kansai region. His childhood days were spent innocently playing with pottery in his father’s house, which was a kiln business, and being exposed to nature. Although he found a job in Tokyo and was spending fulfilling days, he felt that it was not his profession, so he began attending pottery classes. He returned to his hometown to study at the Toki Municipal Ceramics Testing Center to further pursue his career. After 10 years of working with white porcelain, he came up with the idea of creating a new work of art, “Shino,” which had been burned into his eyes at a museum while he was living in Tokyo. It was a projection of her life, which seemed to have branched off, but was firmly rooted and had grown into a sturdy trunk. What should “Shino” be in today’s world, where many houses do not have tea rooms or alcoves, and tea ceremonies are held only in very limited places? After much deliberation and practice, Hayashi’s answer is that it should be a vessel that lies between art and commodity, and that can be used to create a pleasant and peaceful atmosphere.
The graceful, dignified-looking vessels she creates combine edgy beauty with warmth and gentleness, softly connecting the profound world of “Shino” with modern life. The gentle pinks and grays interwoven with each piece of pottery make everyone’s heart flutter, and no two pieces are alike, making every piece of pottery a desire to collect and own. The loveliness of the pieces makes you want to keep them close at hand and gaze at them, even if you don’t intend to use them. Hayashi says she enjoys creating each piece, feeling happy or sad at the expression of the pink and gray colors that appear differently on each piece. Ms. Hayashi is not sure why she was attracted to Shino. However, the moment when she looks at and feels comfortable using her vessels, she casually gives us a hint that enriches our daily life beyond logic.

NIHONMONO – 「にほん」の「ほんも…

光を取り込む器を作る「陶芸家 新里明士」／岐阜県土岐市 – NIHONMONO 器自体が光るような「光器」 真っ白で薄手の器。その中に光がはいると、表面に光の点描が浮かびあがる。「光器」とい

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Bizen Pottery is one of the Six Old Kilns, which have been in existence since the Middle Ages. Bizen Pottery is made of clay from the area around Bizen City in Okayama Prefecture and fired without glaze, giving each piece a different appearance. We visited the studio of potter Hitoshi Morimoto, who is trying to create modern pottery that fits in with today’s lifestyle while respecting the quality of Bizen-yaki.

Daily life is expressed in the work.

Located in the southeastern part of Okayama Prefecture, the Ibe district of Bizen City is the home of Bizen Pottery, where numerous pottery studios and galleries are located. Although located in the same city, potter Hitoshi Morimoto’s home and studio are located in a quiet mountainous area about 20 minutes away by car. Away from the hustle and bustle of the city and surrounded by abundant nature, he is devoted to his ceramic art.
Mr. Morimoto was born to a father who was a Bizen potter. After graduating from college with a degree in sculpture, he went to Gifu Prefecture to study under Mino potter Seiya Toyoba, who was recommended by his father. He lived and worked with his master for four years.

Mr. Morimoto recalls, “It was like the training of a Zen monk. I would wake up in the morning, help with cleaning and meals, tend the garden, chop firewood, and so on, all while keeping an eye on my master’s movements and moving accordingly. It was his mission to support his master so that he could work comfortably. In such a life, he realized that “daily life is a person’s work of art. This experience has become the foundation of what Mr. Morimoto is doing today.

Bizen ware that blends into modern life.

After training in Gifu, Morimoto returned to his hometown in 2003 and began working with his father as a potter. The period of time away from his hometown was a great accomplishment, as it allowed him to gain an objective view of Bizen Pottery. Twenty to thirty years ago, when Mr. Morimoto began his career as a ceramic artist, Bizen ware was dominated by pieces that emphasized a sense of stateliness. Therefore, when people tried to incorporate Bizen ware into their daily lives, they sometimes found it difficult to use. With this in mind, Mr. Kikuchi decided to create a new type of Bizen Pottery, one that was thinner, lighter, and easier to use in everyday life, while still retaining the texture of Bizen Pottery. With these thoughts in mind, the challenge to create Bizen ware that fits into modern life began.

Clay making and climbing kilns are the key to Bizen ware

The basic clay used for Bizen Pottery is “tado,” or rice field clay, collected from the rice paddies around Bizen City. Because of its high shrinkage rate when placed in the kiln, the clay is tightly fired. Because of this, water does not leak out, so glazing is not necessary. Another important feature is that the color changes depending on the placement in the kiln and the way the ash is applied, producing a variety of expressions.

The clay Mr. Morimoto currently uses was purchased by his father about 50 years ago. He crushes the clay, which is as hard as a stone, and dissolves it in water to make the clay to his liking. Because he does not use glaze for his pottery, he puts a lot of effort into making the clay, which greatly affects the finished product.

He believes that firing in a wood-fired climbing kiln is important to bring out the best of Bizen clay. The climbing kiln is fired once every one to one and a half years, and it takes seven to eight months from preparation to firing. Once the firing starts, he spends about a week at the kiln. When I keep the climbing kiln burning, I feel that I am working with pottery,” he says. The feeling of being moved is different from other kilns,” says Mr. Morimoto with a twinkle in his eye.

Continues to work on glazed items

Morimoto continues to use a kerosene kiln to make glazed pieces that he learned from his master, alternating with Bizen ware made in a wood-fired kiln. The reason for this is very clear: “Having both makes the table more alive and interesting. He also says that working with both Bizen ware and glazed ware has been beneficial to him because it has allowed him to look at each piece objectively, even if it is his own work.。

Unique “White Flower” series fired in a kerosene kiln

The “Shirahana” series, made of Bizen clay and fired in a kerosene kiln, is an original creation of Mr. Morimoto. Like traditional Bizen ware, these pieces are fired without glaze, but they are fired in a kerosene kiln to avoid browning as much as possible, which gives them a flat finish and a mysterious texture. The color is a grayish white, which is characteristic of Bizen clay itself. With its well-honed form and colors never before seen in Bizen pottery, this series has gained popularity for its modern look that blends seamlessly into modern life.
Thus, even if the same Bizen clay is used, different pieces will have completely different expressions depending on the kiln used and the firing method. Mr. Morimoto believes that what is important for pottery is the compatibility between the clay and the kiln. When the chemistry is right, interesting pieces are born. His lighthearted attitude of experimenting with various techniques without being bound by stereotypes is probably what leads to the creation of pottery with new charms.

What we want to do is born one after another.

In her daily life, she tends to her garden, decorates it with seasonal flowers and plants, and continues to learn the tea ceremony from her mother. He has also been learning tea ceremony from his mother. He is particular about the space he creates and each tool he uses in his workspace, and has made it so that he can devote himself comfortably to his pottery making. She continues to live a careful life, unashamed of the lesson she learned from her master: “It is in the way one lives that one’s work is expressed. In the course of her daily life, she sees many things and speaks with many people, and what she wants to do keeps coming up one after another.

When asked about his future, he replied, “There are so many things I want to do that I haven’t been able to digest them all. So I’ll just have to do one thing at a time. This is the driving force behind Morimoto’s pottery. In recent years, he has been receiving more and more work from overseas. The yakishime process is seen as modern by people overseas, and is gaining support. He is often asked to make large pieces, which he could not do in Japan even though he wanted to, and this is very rewarding.

My real work lies ahead.

While experimenting with new things in this way, he intends to continue to produce compelling pieces of work, both Bizen ware and glazed ware, as a professional. On top of that, he says that his challenge is how to continue to enjoy ceramic art without getting bored or accustomed to it. Now that I have become able to do a certain amount of things,” Morimoto says, ”I think my real work lies ahead. He will continue to sublimate the teachings and techniques he inherited from his mentor and father into his own ceramic art, and will continue to expand the new world of pottery with lightness and flexibility.

The post Bizen Pottery: Breathing New Life into Traditional Bizen Pottery, Ceramic Artist Hitoshi Morimoto / Bizen City, Okayama Prefecture first appeared on NIHONMONO.

Located in the northwest of Oita Prefecture, Hita City is rich in nature. Ceramic artist Osamu Mitoma uses the ash and soil of Hita to create glazes, crafting vessels that accompany people’s lives. Pursuing and expressing the “beautiful” and “charming” things born in everyday life, Mitoma continues to create.

Encounter with pottery

n 2007, Osamu Mitoma built a kiln in his hometown of Hita. He spent his high school years in Hita and, driven by a desire to study design, he enrolled in the Faculty of Education at Tokyo Gakugei University, majoring in art. At the time, he was interested in industrial design, such as cars, but during his university years, he encountered pottery in a class when he was struggling with his future, inspired by talented individuals. He became increasingly fascinated and immersed in its appeal. Kyushu, where he was born and raised, is also renowned for pottery. In Hita, there is the inherited tradition of “Ko-Onta Ware” and the internationally popular “Arita Ware” from Saga Prefecture nearby. Although the style of Mitoma’s work differs, pottery has always been familiar to him since childhood. The encounter between Mitoma and pottery, leading him to return to his hometown and establish a studio, may not have been entirely coincidental.

The fluctuations expressed in “Mold Making”

Mitoma’s primary technique is “mold making.” He creates vessels solely through molding or hand-building techniques, without using a potter’s wheel. Although he experienced using a potter’s wheel during university classes, he found it unsuitable because it takes several years to master the technique and there is often a significant gap between the ideal image in one’s mind and the actual outcome. To find his own style, he read various magazines and visited exhibitions, eventually discovering “mold making.” Around the same time, he had the opportunity to see the works of Living National Treasure Munemaro Ishiguro in Kyoto. Among his works were those made using molds, and Mitoma intuitively felt that “this is it,” which became the deciding factor. He then became an apprentice to a mold-making master in Kyoto and began to earnestly learn the craft.

“The nuances created by hand”

Mitoma’s process of creating pottery begins with sketching out his ideas and designing them. He shapes the clay into a prototype while comparing it to the three-dimensional image he has in mind, then takes a mold with plaster. By assembling and pressing the molds together by hand, he smoothens out each piece, particularly thinning out the mouth of the vessel significantly, which is one of his distinctive features. Moreover, he intentionally makes the base thicker to ensure a better feel when holding the vessel, with the center of gravity lower for a more comfortable grip. While this method is time-consuming due to its manual nature, he persists in it because it allows him to express the unique “fluctuations” inherent in mold making. Mold making involves tapping the material onto the mold, causing particles to scatter and irregularities to form, resulting in unpredictable movements after firing. While fluctuations can also occur when using a potter’s wheel, Mitoma believes that the relaxed rhythm, finger pressure, and time spent on mold making contribute to the distinctiveness of his work. The soft undulations and beautiful distortions that characterize the allure of Mitoma’s vessels are all born from the process of crafting everything by hand.

Committing to not being committed.

“Committing to the absence of commitment” is a key aspect of Mitoma’s creations, where no two pieces are ever the same.

During the mold-making stage, he consciously strives for precise and sharp forms, but as they undergo firing, they acquire a unique distortion and fluctuation, according to Mitoma. He smiles, noting how even the slightest pressure from his fingers can greatly influence the final outcome. “The unpredictability, the lack of control – that’s part of the joy of pottery. If everything turned out exactly as planned, from 1 to 100, it wouldn’t be as interesting,” he says. Initially, he aimed to create pieces exactly according to his designs, but over time, he began to appreciate the charm of things not going as planned. Moreover, while it’s said that vessels grow according to the person who uses them, Mitoma doesn’t adhere to strict rules about how ceramics should be. However, he does have one strong commitment: to glazes. Glazes, covering the surface of ceramics, produce various expressions during firing. Mitoma aims to create modest vessels using local natural materials, prioritizing simplicity.

“What I want to convey through glazes made from nature”

In the early days of his independence, Mitoma felt a strong urge to express his individuality through his work. He experimented with unconventional shapes and colors, even deliberately creating vessels that were impractical to use. During this time, he used commercially available glazes. However, an acquaintance requested a kyo-dzutsu (scroll case) to be made, and when Mitoma used natural ash he had received, he created vessels with a very gentle hue. The acquaintance remarked, “That glaze is the most ‘you,'” prompting Mitoma to shift towards natural materials such as natural ash. Even within the same type of wood, the color can vary between the trunk and branches. Additionally, different regions yield different nutrients in the materials. Furthermore, even with the same glaze, the firing method—whether reduction firing or oxidation firing—can greatly alter the outcome. The ever-changing expressions seen in pottery are its greatest allure, embodying Mitoma’s uniqueness.

Mitoma’s glazes are made by hand-crushing materials collected from local mountains, requiring a significant amount of time. As he handles every step of the process alone, his production is limited, earning him the reputation of being a “hard-to-find artist.” The meticulously crafted pieces, with their hues, gradients, expressions derived from glazes, distortions and fluctuations after firing, all become singular entities. They emit a unique aura that sets them apart and are beloved by those who seek individuality within simplicity, appreciating the delicate edges refined by omitting the unnecessary.

“Connecting and binding the emotions of the user.”

About 15 years ago, Mitoma began crafting Chinese tea utensils after meeting a tea master from Taiwan. He also traveled to China and Taiwan, where he was shown and allowed to use utensils from the Song and Ming dynasties by his teacher, an experience he found invaluable. “Viewing as many pottery pieces and artworks as possible contributes to experience and cultivates one’s eye. Utensils and teapots grow with use. One example is Japan’s unique cultural practice of ‘kintsugi,’ where rather than aging, items gain character through the act of mending,” he explains. Mitoma expresses a preference for genuine items, whether it be pottery, poetry, or sculpture. His creations, inspired by ancient artworks from China, Korea, Europe, and beyond, possess an originality that transcends any single pottery culture in Japan.

For Mitoma, moments of joy come from seeing something he finds beautiful, focusing on work during everyday life, and unexpected outcomes. “Encountering beauty or serendipitous creations amidst the monotony of daily life brings contentment. Maybe there’s no need for an artist’s assertion there,” he muses with a smile.

He aims not only to express his own feelings but also to create items that can reflect the emotions of those who use or view them. While saying this, Mitoma continues to craft beloved pieces that accompany people’s lives in his modest 5-tatami studio, day after day.

The post “Vessels grow according to the person who uses them.” – Ceramic artist Osamu Misugi, who continues to create unique works. first appeared on NIHONMONO.