One of the yunomnis to match the teapot I posted a number of days ago. Fired for six days in a heavily reduced atmosphere that transitions to an oxidised one in the latter part of the cooling. Thrown with a clay partly mixed with a Shigaraki body this vessel is coated with an iron slip beneath thicker shino that was painted on with a straw hakeme brush. To make the interior more useable a white shino that melts with more of a sheen was used, which the iron still bleeds through causing it to turn a crimson red hue.
I hope you folks don’t mind what might be a few weeks barrage of these kinds of photographs. I’d also like to quickly say thanks for all the hundreds upon hundreds of comments this past week, it’s a little overwhelming but I’m so pleased you’ve all been revelling in my Japan diary updates, I’ll try and respond to as many as I can. It’s been unbelievably refreshing writing about my time here and the pots made and techniques learnt, I’m sure I’ll be at a loss once I return home, that or I might take a short break from the platform to recuperate.
Todays task is to photograph most of the pots destined for my exhibition, I’ll take them in and amongst the studios and kilns, location shots of where they were made. The gallery that’s hosting me is stunning, a rock garden lined with foliage leads to the exhibition space and the shop, all built from giant wooden beams intricately carved and put together. Behind the gallery is an old pottery, from what I can gather it isn’t used much as the trolley carts packed with bisque ware have remained there since Ken first took me here the day I arrived. Next to them a large a multi chambered kiln climbs back into the shadowy kiln shed. Much of Mashiko is like this, walking around you can glimpse into many of the studios with objects such as old used saggars and kiln shelves stacked high. I could wonder through the backstreets endlessly had I the time.