Insights from Sixteen Creative Japanese Ceramicists

There are, for those with the requisite sense, currents, energy flows, and dialogues to be discerned in the Japanese garden. Shunmyo Masuno contends that when arranging rocks, for example, one must “converse” with the stone, waiting “until it seems to speak and say where it wants to be put.” According to some of the subjects of Listening to Clay, a similar collaboration, or consulting, takes place between potters and their material. Artist Michiko Ogawa, for example, is very specific on this point, stating that she attempts to, “listen to what the material has to say,” posing the question, “What does the clay want to be?”

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Carving new paths for Tokyo artisan culture

Many artisans of traditional Japanese crafts are facing a growing problem: difficulty attracting apprentices to carry on the work in addition to decreasing sales as younger populations eschew traditional items for cheaper, trendier alternatives.

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Nakagawa Shuji: Oke Maker

When Nakagawa Shuji’s grandfather, Kameiichi, turned ten years old, he went to work at Tarugen. This famed maker of oke (wooden pails or buckets) and barrels, had been established in Kyoto during the waning years of the Edo period (1603-1868), and was to become Kameiichi’s workplace for the next 40 years. In the process, Kameiichi…

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