For those afflicted with priapism? All others, stay away!
Seriously though, this is a discount book seller. For some reason, Japan has borrowed ‘hard core’, shortened it, and applied it to just about anything when they want to say ‘extremely/super blah blah’. There was even a tv celeb making the rounds a couple years back, dressed up like the Village People Leather Guy, called himself ‘Hard Gay’.
The pretty much unanimous opinion was that green was not the background color to go with for the show’s postcard mailer. I agreed wholeheartedly but didn’t know how to change it. Then, one sign maker friend suggested dark brown with white text, and larger text. This is what is getting sent to the printer:
Here are a couple of pieces that Nakayama san and I did together. They’re both incense burners with fumed silver lids. The smaller lid is in 2 pieces, the main dome and the frame which holds it. Made like pieces hundreds of years ago, but not so much now. Cheaper to make it in one piece, but easier to repair if you have it in two, apparently. Not being a metalsmith I don’t know the details.
The larger lid is made similarly, but with a free spinning hollow knob, another thing you don’t see much of these days. Usually they are molded together with the lid, and the knob is a solid or single piece of metal. This one is two cast and handcarved sheets hammered to shape and placed together, with a pin through them to hold them to the dome.
Here are some more of the chabana vases, this time with twisty lugs, like the original Ko-Karatsu vase.
Also, my yunomi have been selling slowly over the past year, and I’d not really made any new ones. Realized you can’t have a show without yunomi… Here they are just thrown and still wet.
They are just very basic cylinders that will be medium and small yunomi. Not very many yet, but it’s a start…
Last are some guinomi that I made the other day with some cool sand mixed into the clay. After pounding some sandstone that I collected near Imari last year, I added A LOT to the clay body and it really got interesting. Rather than becoming short and un-throwable, it kept much of it’s plasticity, and had a very interesting surface when trimmed. I think it retained it’s plasticity because the pounded sandstone has a full range of particle size, from fine dust upward, unlike adding a specific mesh size of grog or sand.
All except one of the feet are carved with dull tools. The one in the middle of the bottom pic wasn’t trimmed, but rather paddled to create a raised ridge to act as a foot. I kind of like this method but think it’s likely to look better with smooth clays. Having a good toothy clay and not abusing it in some way with dull tools seems like a waste of potential ‘gnarliness’. One thing to note: since the cups will be glazed with a heavy white rice straw ash glaze, the comb marks which look so overdone, will be covered up to a great degree. It’s necessary to make fairly strong markings with this glaze, because weaker marks and lines just disappear under the glaze.
Have locked in the date for a show in late June, in Karatsu. I’ll be doing a show with Nakayama Tomosuke, a silversmith and jewelery maker. Actually he works in all sorts of metals, making alloys and fuming them to reproduce specific colors. Here are some pictures of his work, as well as one of the boxes I make for him, in which he delivers his wedding band sets. A definite step up from the throwaway clamshell felt box. Last pic down is the preliminary postcard mailer for the show, if anyone has any recommendations on how to improve it, I’m open to them.
It’s been a while since I’d tried doing some coil and paddle vases, mostly because the last couple of times have been pretty disastrous with regards to design. For some reason the balance in vases gives me fits. Sometimes one really clicks but it seems to be more of a fluke than anything else.
One thing that helps with vases and other vessels with lugs is if I think of the lugs as arms, such as the arms hanging off of humans, giving various expressions with their varied positions. The Japanese word for these is ‘mimi’ or ears. That doesn’t do it for me, or maybe I’ve just not met enough people with unique and expressive ears.
I started with a couple of taller forms, the first more formal, and squared off, resembles one of my teacher’s pieces. For the second one, I flipped through an old Nakazato Shigetoshi exhibition catalog, and tried mimicking one of his. He makes the most wonderful vases, very rounded and soft, and wilted looking (in a good way). I wasn’t thrilled with the arms on this one (the left), somehow it looks like it’s scolding the viewer, not to mention being a little too ‘muscular’. The glaze usually soften things up quite a bit, it’ll be interesting to see how this one changes.
It occurred to me that these two were a little tall, so I tried a few more like the one on the left, except with the middle section removed, and without the bottom treatment.
I was much happier with these, there seems to be a sort of cute stubbiness to them. Turning over and rolling the rim gives it a soft look, and collaring it in resulted in the undulations that don’t end up looking as contrived as they do when I alter the rim by hand as I usually do. Tried the arms in three positions, perhaps the center is my favorite. All of these are about 23cm tall. The first two are probably closer to 35cm.