Hata Fest NEW WORK Fun Explosions!

We're only two days away from HATA FEST (the link is in all Japanese, but I like to imagine there are half a handful of Japanese readers out there in the datosphere). The first day, Saturday, will be performances from fantastic musicians (and other fun items of interests), and Sunday will be the day that yours truly is showing his collection to any and all would be feedbackers and conversationalists (who all hopefully become overcome by the urge to give these poor lonely pots a new homes). 

In even more blatant terms PLEASE COME SAY HI TO ME AND MANY OTHER ALT's and lovely people this weekend! 

RIGHT! 

Now, finally the long promised results from last weeks new firing. Behold! 

Opening this kiln load up was like discovering Santa had moved his workshop into my basement overnight. So, what did I do differently and why did I choose to do it? Well the short answer is that I sped up the rise in temperature of my firing cycle and added an extremely exaggerated cooling "down firing" to the end of it.  

WHY? 

The idea came from reading this article, by Steve Hill, in February's issue of Ceramics Monthly. The article focused on Steve's journey from higher temperature gas firings to his current work with electric kilns. In the article he speaks extensively on how to achieve the "magical, unpredictable surface effects that result from atmospheric firing techniques," without having an atmospheric environment to fire in. In basic terms, how to make electric oxidation firing look more like the highly sought after effects of other firing method such as: soda firing, wood firing, pit firing, the previously mentioned gas firing, raku firing, and countless others. The article's main thrust can be summed up by a quote from Pete Pinnell:

“In reduction firing, glazes can stratify into layers during the course of the firing. Longer firings and slower cooling cycles, along with the effects of reduction, can result in the creation of complex structures that can result in a variety of beautiful visual effects. Even seemingly opaque glazes can have enough translucency for one layer to subtly affect the next, creating variation and softness in surface color. In oxidation, shorter firing cycles, faster cooling, and an oxidizing atmosphere can result in less layering, simpler structures and less interesting visual qualities.”

Steve goes on to explain his firing process and years of trying new cycles (which I found absolutely wonderful to read, but I'll spare you the nerdy details). What is all boils down to is that by layering cone 6 glazes and exposing them to higher temperatures for a longer period of time the glazes are given more time to intermingle. This results in more blended colors, matted-finishes, and atmospheric results. No more hard lines between layered colors. This is a whole new variable in my ceramics process, and the results make me want to try new firing cycles. How long is too long? What is the optimum exposure to high heat to blend the colors, and not loose their vividness? Do all glazes react the same to the longer heat exposure (this firing seems to have severely darkened my blues and turned my green glazes into more of a dark translucent green)? 

My curiosity is endless. SO MANY QUESTIONS! But, there's plenty of time to seek those answers. For now, I'd say I've rambled on quite long enough about things I only have the most basic of understandings of. Hope you like the new work as much as I do, and hope to see you out in force at Hata Fest. 

See you next time friends. 

Postponed

Today's update on the new kiln load has been postponed due to the fact that it is still cooling. . . . . .
Here's a few pictures of all my glaze tests though. That'll hold you over! RIGHT?!  Sorry folks, I was frustrated too. Never have I felt more tempted to open a giant oven burning at just over 400 C (like 700ish F) and thrust my face in just for a peek at new pots. Patience is a virtue!

Inspiration!

Happy new work Thursday friends, and may it be a lovely one where ever you may be. Above are the pieces going into the kiln tomorrow after school. Along with some of the new textures you've already seen, I plan on trying something new with all of the work shown. Not only are the glaze combinations new, but also (after reading a few wonderfully tempting articles in new a Ceramics Monthly) some new firing methods I simply can't go without trying. I'll fill you in on all the specifics once the outcome is revealed next week. 

*warning to readers and the blog writer himself* THIS LITTLE ADVENTURE MAY YEILD ABSOLUTELY ZERO OR POTENTIALLY HORRIBLE RESULTS! 

Now that, that little morsel has been discharged into the great wilderness of web space I want to share some photos that show what I wish I could make my glazes do. The color combinations, the cracking in the ice, the contrast of chipping thick paint and wood grain, and all the other wonderful dramatics which occur without hardly any human effort are the things I wish I could transfer onto my pots.   

Only more practice and patience will see me to this goal. More to come. Happy weekends. 

Golden

Well folks it's the end of Golden Week here in Japan, and this means the rust is shaking off from 4 days off work. I just put the 38th knotch in my 88 Temple belt. Tuesday and Thursday's post didn't happen, and for that I am most sorry. To make it up to you I want to fill your eye holes with photos!

One of my new glazes from the last firing on some yunomi.  

One of my favorite tea bowls I've produced. My mother managed to spirit it away with her back to the far flung soils of the good old U.S.A. 

Serving plate with a surprise splash of green and red. 

Some new coffee mugs  

It took two full 6 to 7 hour days of cycling to get there, but this is where I spent my 4 day holiday thinking on adventures and pots to come!

And lastly a friendly reminder to all you local fans out there that May 20th I will be at Hata Fest on Irino Beach selling my work along with many other lovely ALT artists and creators of scrumptious sweets. Come hang out at the beach, talk, and buy some pottery! Hata Fest will also be goign on on May 19th as a music only day. So, if you aren't like me and have to go to the Kochi Prefectural Sports Tournament on that Saturday, get yur buns down to the west coast and soak up some sun (fingers crossed on that one) and culture! 

Ochoko

New work Thursday finally returns, and let me tell you it can't be Friday soon enough. This year's course load at Susaki High has me running all over the damn place. I'll take being busy over having nothing to do any day, but after a full two months of being decidedly unbusy, busy feels busier than busy should feel. I'm sure adjustment will happen in no time flat.

Amidst all of this busy I've scrounged up some studio time in little bits to keep the ceramics withdraw symptoms from setting in. Here's what's new:

New forms right off the wheel before texture. 

TEXTURE!

Newly trimmed and textured! I love ochokos 

To those who might be a little confused an ochoko is a small sake cup. These forms flew off the wheel head. I am feeling a little more adventurous with my decorations after my parents visit and the freshly delivered issues of Ceramics Monthly. Hopefully these and some other new things in the works will be fired and ready by May 20th. What's on May 20th?! Why how kind of you to ask. Hata fest part II will be on May 20th. It's a craft, art, music and food festival held out on the west side of Kochi prefecture. More details will follow as to it's exact location and such, but save that date dear readers. 

Self promotion aside, that's all there really is for this week folks. Enjoy the long weekend if you live in Japan. We'll see you on Monday! 

City of the Night

Time, as it tends to do, has slipped away from me! Classes resumed at school, studio time was limited but focused and fruitful, and my ability to remember my camera to photograph my new work was . . . nonexistant. So, here is something both new and older. A deviation from the norm, and a total expirament.

I love the relationship between potter, piece, and owner. The notion of use completing a piece is such a different way of looking at artistic expression and appritiation. The feel of it in the hands, its weight, its textures, and all the other details (down to the way your lips might rest on the lip of the piece) are a new level of dialoge between artist and owner. I can't say it in any other way, I just love functional pottery. BUT, I grew up with a father who's work focused on taking an extreemly utilitarian form beyond function. My father chose the shape of a spoon (perhaps he would say the spoon chose him) to be his life's calling. His work , and the work of the other artists he meets has a huge impact on my ideas of art and expression.

My first year in Japan I spent a lot of time working singularly on the wheel. I wanted (STILL WANT!) my basics to improve through continued practice with classic functional forms. It was satisfying, playful, frustrating, and empowering. In the beginning of my second year I found and reworked a large amount of incredibly course black clay. I tried throwing it on the wheel once, and it ripped my hands, the sponge, and a wooden rib to peices. So, for the first time I attempted a purly sculptural project. About a month later these were the results:

I have other sculptural projects in the works, and will always continue to produce with the wheel. Thursday will come, and, I promiss, this time I will return to the normal bloging.
Have a wonderful week folks.

We now return to your regularly scheduled programming

The mountains are bursting into vibrant greens after yesterday's Spring storm, and the remnants of cherry blossums are a pleasant change to the debris that typically clogs the gutters just after a rain. I'm sorry to have gone AWOL on ya'll, but I've been playing the cherie tour guide for my mother and the father for the past two weeks. If you'd like to hear about our travels in more detail feel free to hop on over to my other blog (some time next week once I write about our trip). It's about my travels here in lovely Japan land (  thedailybfg  ). Now that that little explanation and shamless self advertising is over and done with, let's get to the meat of the days ceramic meal.

My parents, crafts-people as they are, share my love for hand made things, and my mother esspeically has an affinity for pottery. We saw, and even procured a few, beautiful pieces on our travels. The reason I share these pieces with you, my internet darlings, is primarily to show just a handful of examples of the types of work I am exposed to every day. The constant reminders that there is a world of unknown potential and skill before me in this field. So enjoy the little mini tour of work, and hopefully we'll be fully back to normal this time next week.

Bizen-Yaki

Odo-yaki

Odo-yaki

Odo-yaki 

(currently unknown location, but supposedly 200 years old)

Nagasaki local artist 

Nagasaki local aftist

currently unknown 

Oh yeah! Before I sign off here . . . Tabe Sensei was recontracted at Susaki High School! So raise up your glasses and give us a song! All of the worries are gone. Another year with a great friend and many many more chances to continue making my pots.

Can't wait to get back in the studio.

Bizen-yaki frog

See you Monday!