I remember a ceramics class, back when schools had funding and felt an importance to preserve the arts rather than focus on standardized testing. I didn’t get bitten by the pottery bug back then but it sure must have planted a seed, that lay dormant for around 30 years. This pot has laid dormant as well, in the back of a cupboard, until it was recently found by my mother. I don’t think I actually remember making this one although I can drum up some memories from the class. It’s funny though, I was making kodai (foot) on my bowls since the very beginning. I found the same in photography. Looking back through my oldest images. The style was already there, small, simple and unadorned.
I think we all enjoy reminiscing and having a wash of nostalgia every now and again. The thing that I like about this pot is that I didn’t “care” too much, I just made it. You can clearly see my fingerprints. A pinched pot with a foot that I was able to see again after so long.
Ok so this will be a short post but necessary for me to keep the ideas coming and stored away for future reference.
So in the past month I’ve learned more about ceramics and pottery through Ohi Toshio and Jay Benzel than in the past 2 years combined. Youtube and friends on Facebook are nice for ideas and can steer you in a general direction but there is no substitute for hands on watching an 11th generation master at work or working hands on with someone who has thrown over 100,000 pots in the past two decades or so.
I worked with Jay from Benzel Pottery yesterday and made a few Yunomi and some mugs. Very excited that my throwing skills are improving. I have shied away from the wheel so that I didn’t pick up any bad habits and just been doing pinched vessels and slab construction and just playing around with some ideas so that I can stay in it with the clay.
We did some basic decoration with porcelain slip and it got me thinking about Calligraphy and the pens and brushes that they use. Straight up and down with a calligraphy pen and you get a straight narrow line. Then side to side gives you a thick line. Now add in the variables of curls and motion and you get the graceful transformation of thick and thin. This is not the best example in the world but it demonstrates the point.
So I want to go and get some finger paints. ALWAYS back to the basics. Back to childhood where life was simple and direct and the true spirit of the creative desire lives without complication. Closer to the “source”. Which in my mind, means pure potential.
So one finger can go in any direction leaving a single line, thicker or thinner. Introduce another finger and you have another dynamic to deal with how far the fingers are apart. Introduce a third and a fourth or a fifth and the variables grow considerably. Now, I’m not looking for “too much”. Never, ever too much. Always “just enough” is where I want to be. As much done as needs doing and no more.
This leads into a conversation with my wife about a collection of pottery being like an album. A cohesive whole. I completely understand that and I want to focus on a few standard shapes and designs of my own so that I can repeatedly throw them and have a cohesive collection. This in addition to experimentation of course.
This is something that you can never complete. You can never truly be done. In a conversation I had with Jay last night. “Why would you want to get into something you’d never finish?” A very hard question indeed and one that warrants its own post I guess. I’ll work on that sometime 😉
So I’m in the middle of doing the third iteration of my Kusamono / Shitakusa vessels and they are coming along nicely. I love love love this clay. Its very porous and I think that it would be good for the plantings in such a small place to be able to get enough oxygen to the roots. This is the advantage of terracotta, not only is it cheaply produced and low fired but it is porous as well. We’ll have to keep in mind that the plants that are paired with these pots may need to be watered more than something that is in a plastic or fully vitrified pot. I’ll have to prove this out but it seems that if the roots can get more oxygen then they will flourish for longer.
I have been getting heavily into Kusamono since I learned the term from my friend Chuck. This is something that I’ve never seen before. Mushroom cultivation for Kusamono! It seems to be a high investment in effort and time for a small payoff but for originality I give it two thumbs up. If you care to dive into the way other mushrooms are grown the success rate is a bit higher and the technique should translate very well to the more decorative mushrooms such as the beautiful Amanita Muscaria which reminds me of Christmas.