Kiyomizu-yaki, Kyoto’s representative pottery, may remind many people of Japanese-style dishes with gorgeous painted decoration. The ceramic artist Kiyomizu Daisuke creates pottery that is far from such an image and is supported by young consumers and professional chefs.

Craftsmen working in his studio can be seen. TOKINOHA Ceramic Studio in Kiyomizuyaki Danchi, Kyoto

The Kiyomizuyaki Industrial Park in Yamashina-ku, located in the eastern part of Kyoto City and bordering Shiga Prefecture, is an industrial park developed in the 1960s and is lined with ceramic artists’ stores, studios, and stores selling materials. In one corner is TOKINOHA Ceramic Studio, run by Mr. Shimizu and his ceramist wife, Tomoe.

The store in front of you as soon as you enter is their brand TOKINOHA. The shop offers a wide variety of pottery in a space where visitors can choose pottery while watching craftsmen at work in the studio through a glass window.

The simple shapes and colors make you want to keep them by your side every day. Yet, they are stylish enough to lift the spirits of those who use them. However, they may not be what you would call “Kyoto-like” tableware. In fact, some of my competitors have said to me, ‘This is not Kiyomizu-yaki,'” says Shimizu.

What are the Characteristics of Kiyomizuyaki?

In fact, however, there are no rules regarding the materials and techniques used in Kiyomizuyaki. Kiyomizuyaki is a type of pottery that originated in the Azuchi-Momoyama to early Edo periods, when the tea ceremony was popular, and artisans from all over Japan were called to the capital of Kyoto to make vessels using techniques from various regions in response to requests from the authorities and cultural figures of the time. Therefore, Kiyomizuyaki is filled with the essence of the whole country, and people are free to choose how they want to use it.

He says, “With the spirit of creating something from here, we search for clay from all over the country and bake the best products. Perhaps that spirit is what Kiyomizuyaki is all about. I hope to tell people through my work that there is such a thing as Kiyomizuyaki,” says Mr. Shimizu.

How did Mr. Shimizu arrive at his current style?

The concept of “Kiyomizuyaki for the appreciation of life,” a concept that has undergone numerous changes

Mr. Shimizu was born in an area called Iwakura, south of Sakyo-ku, which occupies the northeastern part of Kyoto City from north to south. He was born and raised in a family of potters: his great-grandfather was Rokubei Shimizu V, a Kiyomizu-yaki potter who has been a master since the mid-Edo period, and his father, Hisashi Shimizu, is also a potter. His father, Hisashi Shimizu, was also a potter. After graduating from high school, however, he entered the Department of Environmental Design at Kyoto Prefectural University and majored in architecture. At that time, he did not envision a future as a ceramic artist at all.

The change came while he was still a student at the university. He chose the field of architecture because of his love of making things, but as he studied, he became aware of the many restrictions. At that time, he saw Hisashi devote himself to creating ceramics and thought, “My father is doing interesting things,” and decided to pursue ceramics as a career himself. After graduating from college, he studied ceramics at the Kyoto Prefectural College of Ceramic Technology, and after completing his studies, he became an apprentice to Yuichi Inokai, apotter who was a member of the Japan Crafts Association and had won numerous awards at domestic craft exhibitions. Here, however, Shimizu ran into a wall.

The pottery he had made to “win” did not stick. The days of no response from customers were hard.

At the time, Mr. Shimizu was working to exhibit his work in exhibitions, and he was desperate to create works that would leave a lasting impression and not be outdone by other exhibitors. He was desperate to create works that would be as impressive as those of the other exhibitors.

Tokinoha Ceramics was located in the city center, and people who happened to pass by often took a peek inside. However, many of these people would look at the whole place vaguely, and then simply walk out.

This ” non-response” was hard on Shimizu. As he repeated this experience, he began to feel that something was different about his previous works.

A simple vessel, stripped of individuality, is the result.

Shimizu began to actively listen to the comments of customers and friends from other industries who told him what they thought of his work.

They said, “It is interesting as a work of art, but it is not suitable for daily use.

If this part were a little different, it would be easier to use.

Shimizu’s goal was to create vessels that people of his own generation would want to use. He began to use a variety of techniques and to eliminate the decorations.

Around that time, Shimizu stopped exhibiting his work at exhibitions. He also settled on the brand concept of ” vessels that accompany people in their daily lives.

He says, “Even if I could create a piece that stood out in a group exhibition and win, it would be meaningless if people did not use it. Rather than trying to win with a single piece, I wanted people to feel something when they saw a “group” of my work. When I realized how to do that, I felt as if I had a breakthrough.

Because you can’t cheat on the number of pieces, it’s the plain dishes that are the hardest to make.

Around this time, Mr. and Mrs. Shimizu moved their base of operations to Kiyomizuyaki Danchi and changed their brand name from ” TOKINOHA Tobo” to ” TOKINOHA. It was 2011 when they began to operate their studio and store under the same name.

The characteristic of TOKINOHA’s pottery, says Shimizu, is ” simple forms that at first glance appear to be nothing. For example, he says, it is difficult for a potter to create a simple form like a plain plate.

Researching glazes to create a wide variety of colors and designs

Shimizu has also been experimenting with glazes since his days at Tokinoha Tobo, creating vessels in a variety of colors.

One of his popular series is ” copper” using copper glaze. The blue color is particularly popular, and even Western chefs, who normally do not like blue dishes because it is said to be a color that reduces appetite, choose blue dishes, saying, “This blue dish can be used. This episode is typical of TOKINOHA, which is devoted to “subtractive” design and has worked to create dishes that complement the food.

To respond to the feelings of those who use it. Launching the “SOU-SIRO” brand exclusively for chefs

TOKINOHA’s tableware is known for being supported by professional chefs.

When Mr. Shimizu started working on simple tableware, TOKINOHA’s tableware caught the eye of a chef, who ordered a complete set of tableware for his restaurant. Another chef saw this and placed an order for TOKINOHA, and soon the orders began to flow in one after another. Shimizu’s willingness to make fine adjustments while incorporating the opinions of the chefs and people around him in order to meet the needs of the users led to trust and a reputation for his work.

Mr. Shimizu also learned a lot from his relationships with chefs.

He has learned how to be attentive to trends and how to incorporate them into his recipes, how to observe customers and find solutions to problems, and how to think about how to incorporate those solutions into a dish. He was inspired by the high level of mindset of the chefs.

Furthermore, as he worked more and more with the chefs, he also became aware of some things.

For example, what each customer requires in terms of the size, shape, texture, and ease of handling of the dishes, etc., varies widely, and there is no standard that all chefs can agree on. Therefore, in 2017, TOKINOHA launched “SOU-SIRO,” a brand dedicated to chefs that specializes in custom-made products, separately from TOKINOHA. Through this business, Shimizu’s involvement with even more chefs has deepened and broadened his awareness of the issues he faces as a business owner.

Making a Pottery Artist a “Sustainable Job

In fact, there was something that had stuck with Mr. Shimizu since his days at pottery school. There were few heirs among his classmates, and many of them were beginners in the ceramic arts.

There was a time when about 80% of the students were heirs. However, nowadays, more and more people do not choose to become potters because they see their parents’ hardships. On the other hand, those who enter the school are those who do not know such backgrounds. As a result, he has seen many people become stuck after becoming potters.

They can learn pottery techniques at school, but they rarely have the opportunity to learn how to make a living,” he said. That is why I want to focus my efforts on making ceramics a proper business, so that people can continue to work in it.

Creating a portal site exclusively for ceramic artists

One of the reasons why it is difficult for potters to make a living is the problem of ” distribution. Shimizu’s thoughts were reinforced when real stores closed and many potters lost their sales channels due to lifestyle changes that occurred after 2019.

In October 2019, hoping to help solve the problem, Shimizu launched “Soho,” a portal site for ceramic artists, and also worked on branding advice. He believed that if potters could develop the ability to sell their work on their own, without going through distribution, it would help revitalize the industry. Having felt that these activities had achieved a certain level of success, the “Soho” service was terminated at the end of November, 2022.

In order to promote the appeal of Kiyomizuyaki throughout Japan and to the world. Changes in the Way the Pottery Market is Held

It has been 11 years since TOKINOHA moved to the Kiyomizuyaki complex. When TOKINOHA first moved to the new location, even Mr. Shimizu, who was born in Kyoto, felt a sense of being away from home.

However, there have been changes as he continues to struggle as a member of the Kiyomizuyaki complex.

In October 2022, the “Kiyomizuyaki no Sato Festival” was held for the first time in three years, and at the suggestion of Mr. Shimizu, several changes were made to the way thepottery marketwas run. The first was to start from scratch every year to broaden the scope of new exhibitors. The second was to restrict exhibitors to those involved in the Kyoto and Kiyomizuyaki ceramic industry by prohibiting those from other prefectures from exhibiting at the festival.

This would not only give more people involved in pottery production in Kyoto a chance to exhibit, but would also establish the identity of Kiyomizuyaki and appeal to the whole country and the world. The festival also aimed to avoid the situation where visitors to the festival bought pottery they thought was Kiyomizu-yaki, only to find out that it was made in another prefecture. In November 2022, the TOKINOHA tag line will be renewed, and the concept will be changed to “Kiyomizuyaki for the appreciation of life. Mr. Shimizu’s own brand concept has also returned to the keyword “Kiyomizuyaki.

Even those who once said, “This is not Kiyomizuyaki,” have come to trust Mr. Shimizu, who spares no effort or ideas to revitalize the Kiyomizuyaki industry.

He says, “We have been challenged and nurtured here, and that is why we are here today. That’s why we are here today.

Mr. Shimizu’s sincere attitude will no doubt continue to update the Kiyomizu-yaki industry and the ceramic world.

The post Kiyomizuyaki like this. Daisuke Shimizu of Kiyomizuyaki “TOKINOHA” for tasting life / Kyoto City, Kyoto Prefecture first appeared on NIHONMONO.

Shion Tabata has her Shion Kiln in Karuizawa, Nagano Prefecture, one of Japan’s most famous vacation homes. In addition to his original creations, he is also energetically engaged in copying Ogata Kenzan, a well-known potter of the Edo period, and Kitaoji Rosanjin, a well-known gourmet and potter, and is a popular ceramic artist among people of all ages. We visited his studio to learn how he creates the warmth and gentleness that spills from his pottery and the charm that makes his pottery picturesque on its own.

Becoming an antique dealer out of a desire to “do what I love for a living

Originally from Kitakyushu City, Fukuoka Prefecture, Ms. Tabata met her current husband and moved to Kobe, Hyogo Prefecture. After the peak of her child-rearing years had passed, when she was in her late 30s, she began looking for a job to supplement her living expenses. She decided that she wanted to do what she loved anyway, so she looked for a job as an antique dealer, something she had been interested in for a long time. Although the peak of his career had passed, he was still raising his children and wanted to work on weekdays when they were at school. The only one that remained was Tanimatsuya Toda Shoten, an Osaka-based tea ceremony utensil dealer that has been in business since the Edo period. The company is said to be the largest antique dealer in Japan, but I had no idea about that at the time. I was offered an interview, and from there, things went smoothly, and I started working there the day after my interview.

Antiques learned from a great benefactor, Teiichi Yuki, a master of Japanese cuisine.

He worked there for about five years, more than half of which he was sent to help Teiichi Yuki, the founder of the Japanese restaurant Kitcho, organize his storehouse for the establishment of an art museum.

In the course of his duties, Mr. Tabata had the opportunity to hear Mr. Yuki talk about the time when he collected antiques, to actually touch them, and to learn about their splendor. This experience was one of the important turning points that led Mr. Tabata, who was almost a novice, to become interested in pottery making.

From a trivial experience to the world of ceramics

In this way, Mr. Tabata deepened his knowledge of the real world of ceramics, but when the ” Yuki Museum of Art, ” which he helped establish, opened in 1987, it was as if his busy life up to that point was a lie, and he found he had a lot of free time on his hands.

Around that time, he moved to an area on the border of Nishinomiya City, Hyogo Prefecture and Kita Ward, Kobe City. Several factors came together, including the completion of a major project he had been involved in and the longer commute to work, and Mr. Tabata decided to quit his job.

After his resignation, he wondered, “Couldn’t I make something that I had seen before,” as if to fill the empty time he had left after his retirement. For example, “It would be wonderful if I could hold a tea ceremony as a hobby using vessels I made,” he began to think.

It was something as trivial as that that inspired him to start making ceramics.

Failures in Ceramic Making

This is how Mr. Tabata’s pottery-making activities began. However, although he had some knowledge from his antique art experience, he had never taken a pottery class and did not understand even the basics of pottery. For the time being, he tried to make pottery only by self-study, but all he did was fail.

Meeting potter Sadamitsu Sugimoto and going his own way

One day, Daikame Roshi, the abbot of Daitokuji Temple in Kyoto and a well-known tea master, introduced me to the potter Sadamitsu Sugimoto.

Mr. Sugimoto asked me if I would like to use the same kiln that he uses. If it is the same kiln, it will be easier to teach you if you don’t understand something,” and he suggested that I use the same type of kiln as the one he uses. Later, Mr. Sugimoto’s talent as a potter was widely recognized, and he became unimaginably busy, making it impossible to contact him at all.

When he purchased a kiln, he had high hopes that the kiln supplier would at least teach him how to fire it, but he was told, “I can’t teach you how to fire and fill a kiln because each potter has his own way of firing and filling a kiln. I read a book on pottery making, but it was of no help to me. I tried to use the highest quality glaze, but without knowing how to control the temperature of the kiln, all the glaze I had applied on the surface ran off. However, the kerosene kiln, which he purchased for about 1.5 million yen, was not a cheap purchase, and his desire to make vessels for use in the tea ceremony was stronger than anything else.

He continued to make pottery on his own, firing and firing, while receiving opinions from Mr. Yugi and Master Okame. This was another important turning point for Shion Tabata as a ceramic artist.

To be able to make a convincing copy of Ogata Kenzan.

This turning point was the work of Ogata Kenzan, whom he had the good fortune to hold in his hands several times during the launch of the Yugi Museum of Art. In the style of Kensan’s works, which have many graphic elements, white makeup is applied and paintings and characters are drawn on the white makeup using a devil’s board.

From then on, he continued to draw tea bowls on the potter’s wheel, apply white makeup, draw pictures, and continue firing without limit. However, the work that came out of the kiln was far from what he had expected. However, he did not give up and continued to make and fire pieces, changing glazes and repeating trial and error over and over again. As a result, he gradually became able to produce a copy of Kenzan that he was satisfied with.

Shion Tabata as a ceramic artist

Every year since he started making pottery, Tabata had been presenting Mr. Yuki and Master Daikame with his best work of the year on their birthdays.

However, at that time, I was giving away the best work of the year, so I did not think I could always produce the same quality of work, and although I was grateful, I did not ask for an exhibition at a department store. In the meantime, Master Okame asked me, “Why don’t you hold an exhibition here?” and he introduced me to a gallery in Nagoya with which he was familiar. There, his works of Kensan and Rimpa style were highly appreciated, the number of exhibitions increased, and the name of “Shion Tabata” as a ceramic artist gradually became well known.

Valuing human relationships, he built an anagama kiln in Karuizawa.

Some time later, in order to broaden the scope of his creations, Mr. Tabata decided that he wanted to build an anagama kiln for firing Iga Shigaraki.

However, most of the places where anagama kilns can be built are deep in the mountains or far from human settlements.

For Mr. Tabata, who became involved in pottery making through relationships with people, relationships with people are an important factor. In 2004, he decided to open a kiln in Karuizawa, Kitasaku-gun, Nagano Prefecture, one of the most popular vacation homes in Japan, where many people gather from all over the country.

Then, he came across a mountainous area of about 1,500 tsubo. After purchasing the land, he cut trees, made roads, and lived like a pioneer, gradually creating an environment for pottery making.

It takes seven days, or 168 hours, to fire a single batch of Iga-Shigaraki in the completed anagama. During this time, it is necessary to keep the kiln constantly burning wood, which is something that cannot be done by a single person. With the help of his partner, the two of them take turns sleeping for 12 hours at a time to keep the kiln burning. The income is not commensurate with the labor. Frankly speaking, if he had continued to make pottery in Kobe instead of moving all the way to the mountains, he would not have had to build a new kiln, and he would have had no financial or physical problems if he had just copied the Qianzan style that was taking off at the time.

However, if I had not come here, cleared the mountains, created the soil, built the anagama, and lived with this magnificent nature, I would not have been able to take a new step forward. He also says that the most important thing is that the hardships he experienced here were more than compensated for by the wonderful and gratifying encounters he had with people.

Blessed with and weaving relationships with people

Mr. Tabata’s life as a potter has been blessed by the relationships he has had with people ever since he started working at Tanimatsuya Toda Shoten. The favors he has received from Mr. Yugi, Master Okame, Mr. Sugimoto, and other famous and wise people have been more than enough for him to spread his wings as a potter.

At the same time, however, it was also a source of great pressure for Mr. Tabata. If I produced a bad product, I would have disgraced the people who supported me,” he said. That is why I worked so hard to the bitter end,” says Tabata.

This desire was directly linked to the improvement of his skills and knowledge, and as a result, he has not only brought disgrace to the faces of his benefactors, but has also produced excellent works that make them proud of their achievements. Nowadays, his successors admire Mr. Tabata, and his back is followed by those who follow him.

Shion Tabata’s world of pottery is filled with the “gentleness” of human relationships and the “toughness” of pursuing what she loves.

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Teppei Kojima, a ceramic artist who produces pottery under the name “Tetsu Kobo” in Aburagi-cho, Nagasaki, produces a large number of everyday-use vessels using traditional techniques and raw materials he has researched independently.

The “living creatures” series, which depicts the “living forms” of animals he has seen with his own eyes, and other works
have a unique appearance that is hard to find anywhere else.

Typical slipware has a soft, rounded comb pattern and a lattice pattern, but Teppei Kojima, who has a studio in Nagasaki City, creates slipware with a distinctly unique appearance using creatures as a motif. We visited ” Tetsu Kobo ” to meet Mr. Kojima, who is almost entirely self-taught in pottery making.

What is slipware?

Slipware is pottery that is decorated with a muddy clay called ” slip ” and fired. The unique texture of slipware, represented by soft, rounded stripes and wave patterns, has a solid presence that can only be achieved by hand.

Vessels born in England and raised in Japan

Slipware, which was made actively in England from the 18th to the 19th century, was mainly used as oven dishes, and was brought to the table as it was baked, supporting the daily dining table. Slipware was eventually swallowed up by the wave of industrialization and disappeared as mass-produced products became more common, but the founders of the Mingei (folk art) movement, including Muneyoshi Yanagi, took notice of slipware in faraway Japan. Their encounter with English potter Bernard Leach brought slipware back into the spotlight, and it gradually gained recognition, becoming increasingly popular in the 2000s.

Infinitely Expanding Slipware Patterns

Slipware is characterized by stripes and arrow feather patterns with rounded, soft curves. Well-known methods include drawing patterns on top of freshly-dried decorative clay with a dropper or tube, or scratching patterns on top of it with a stick. Because each piece is hand-painted, no two vessels are the same, and the artist’s individuality overflows into the slipware, which is another interesting aspect of slipware. Among them, Nagasaki-based ceramic artist Teppei Kojima continues to create unique slipware with motifs of living creatures.

From a Salaried Worker to a Potter

A room in a small building in Nagasaki City. When you step into “Tetsu Kobo,” your eyes are greeted by a hearth and the old tools that surround it. Books on folk arts and crafts lined the shelves, creating a world that resembled a small, cozy restaurant. Mr. Teppei Kojima, dressed in a kimono, greeted us.

The money is just enough to live on. I want to do what I love.

He was born in Nagasaki City. After graduating from university, he worked at a restaurant in Tokyo, but decided to leave and return to Nagasaki to find what he really wanted to do after spending too much time going back and forth between home and work. After that, he worked as a waterproofer, in sales, and as a manual laborer, but none of these jobs lasted long. On the other hand, Kojima began to take up ceramics after returning to his hometown and became absorbed in the art. He has loved making things ever since he can remember, and it was a precious time for him to lose himself in it. What he has always held in his heart is, ” All I need is enough money to make a living. I want to do what I love. It was a natural progression for him to pursue a career in ceramics.

When I was in college, there was a potter who stayed at my place of residence, and we would spend about a week fishing every day and drinking and talking with each other. Seeing his lifestyle, I envied him and thought, “If only I could become a potter, I could have such a life.

Painting for a change became his own style

Shortly after he started taking pottery classes, Kojima began to pay attention to slipware, which was gaining attention after a certain art magazine ran a feature on it. The teacher taught him the technique and he tried it at home, but “line drawings were difficult for an amateur and did not turn out well,” he recalls. Then, he happened to come across a book that featured the work of the late Kenji Funaki, one of Japan’s leading slipware artists, who had trained at Bernard Leach’s kiln in England.

He had trained at Bernard Leach’s kiln in England and was one of the most famous slipware artists in Japan. I tried drawing them myself as a change of pace, and to my surprise, it turned out to be a good idea. I thought that painting might be better suited to me than lines.

He spent many nights at home until midnight, painting on vessels and then bringing them to the class to be fired. Finally, “My teacher told me to buy my own kiln,” he said, and he bought an electric kiln for himself. He taught himself to study glazes and slip techniques.

Becoming a Professional in Just Three Years

In 2011, two years after he began making ceramics, Kojima received the Nagasaki Ceramics Exhibition’s Jury’s Special Prize. The following year, he won the Grand Prize in the category of ceramics for daily life at the same exhibition. In the same year, he was also approached by the ” Ginza Handicrafts Direct Seller ” at Matsuya Ginza, and this was the catalyst for his professional career.

I was asked to stay at the gallery for a week,” he said. But I was an office worker at the time, and I couldn’t take a week off work. If I refused, I thought, I would never become a potter.

Kojima decided to quit his job and devote himself to ceramics. Since then, he has steadily built a professional career, continuing to participate in the “Ginza Handicrafts Direct Selling Shop” every year.

Kojima-san is known for his paintings of living creatures.

Mr. Kojima is known for his vessels with lively creatures painted on them. In addition to his standard deer, octopus, and rabbit, in recent years, his yokai (monsters) series, including Nurikabe, Hitotsukomen, and Oni (ogres), have become popular.

Kojima’s view of the world, completed in three minutes

Slipware is made by pouring mud plaster (deisho, slip: a mixture of water and clay in a muddy state) on a freshly dried vessel, and then immediately painting over the top with another layer of mud plaster all at once. If it dries out, you will not be able to paint,” he said. Each dish takes only about three minutes to paint,” says Kojima.

Watching him paint, the process looks easy enough, but he has the experience to handle the pot with the right amount of pressure when holding the dropper filled with mud plaster. Even a single dot can change its balance if its size is slightly different,” says Kojima. It is really difficult to adjust the strength and weakness of the spot with the dropper.

If the amount of water in the mud plaster is too much, the painting will spread out and will not be finished beautifully, and the drying process is also prone to cracks and deformation due to the shrinkage rate. Conversely, too little water can cause the colors to peel off during the firing process, making the adjustment of mud plaster concentration an extremely important factor in slipware.

The speed at which the painting soaks into the slipware, the saltiness with which the lines spread, and the colors that emerge when the slipware is fired are all factors that must be considered when adjusting the density. You adjust the density while calculating these things. It is really difficult to make it thicker or thinner. Some people use a densitometer.

As much as possible, I use natural products that I made myself.

For the mud plaster, he uses bengara, a natural pigment. For the glaze, he uses a rare stone called kimachi-shiroishi, produced in Shimane, combined with a base of wood ash that he cooked himself. I can buy the ash if I want to, but I have to be careful about what kind of wood is used and where it comes from, and sometimes there are things other than wood mixed in, such as magazines and newspapers, so it is safer to make it myself,” he says. I try to make what I can myself,” he says.

Perhaps because of this, many of Kojima-san’s slipware have a somewhat gentle, natural feel to them, and his paintings have a light, unique, yet relaxed look to them.

They come in a variety of sizes and shapes. The 7″ plates are deep and easy to use for salads and oden, while the 5″ flat plates can be used as cake plates or serving plates. The 3″ bean plates are also carefully painted, and the expressions and lively movements of the animals and monsters never tire of being seen.

Seeking to establish his own style

Kojima says with a wry smile, “I’ve never been good at drawing pictures, so sometimes it’s hard for me. But, oddly enough, it was after seeing the late Kenji Funaki’s vessels that he began to draw pictures of living creatures, which led him to the path he is on today. Recently, he has made it a daily routine to draw ink paintings using ink he has ground himself, hoping to “improve my painting even if only a little.

At the same time, he is now adding to his collection of vessels made with sumi-hajiri ink. Sumi-Hajiri is a long-established technique of removing the white from the ink by utilizing the ink’s ingredients, and is contrasted with slipware, which is characterized by rounded corners, in that it produces a crisp, sharp look.

I didn’t go to pottery school, and I don’t have a proper teacher. That’s why I really have no choice but to do it as a round-robin competition. I think that if I continue to do this for a long time to come, one day I will be able to paint my own pictures and get closer to my own style,” he says with a cheerful laugh.

Kojima has found the right place to do what he truly loves. She says that although she took a slight detour, she has turned it all into a learning experience, and that her work is somehow gentle and warm. The mysterious sense of security that makes us want to pick up a piece of her work when we need a breather in our daily lives is a result of her commitment to making her customers happy. We hope you will add one of these pieces to your collection. You will find yourself with it in the front row of your cupboard.

I have been completing my work by clearing each challenge one by one in my own way. I am proud to say that these are my own unique vessels with my own unique twist. I hope you will keep it with you and use it a lot.

The post Teppei Kojima, “Tekkobo,” a slipware artist who is “almost entirely self-taught” / Nagasaki City, Nagasaki Prefecture first appeared on NIHONMONO.