Owen Kozlowski on tue 30 mar 04
What a little hotbed we have going here. I'm going to step in, we'll see if
part of me gets blown off. And anything I say is meant with the utmost
respect, please bear in mind.
I'm no authority by anymeans, but I have been working for a few years in a
number of different production studios making daily functional stuff, and
there are safety concerns with pottery beyond just silica dust.
We all agree on silica dust, but barium carbonate is rat poison pure and
simple (I know,I know this has been done to death). There are also issues
with overly porous clay bodies, low-fire paint-your-own studios and
shivering\dunting, and plenty of other things that can, and do, go wrong
with pots. Those of us on ClayArt may be a bit more informed than the
average potter, but not everyone has the benefit of proper testing, or a
generational precedent proving the reliability of their glazes and clay
bodies. Few begining potters and occasional craftsmen rarely see their pots
long after they've been in use, and as such miss out on a lot of learning
that could be gleaned. And many lessons will only be learned over time.
People can rant on about this forever (and have, god how they have) but what
it usually boils down to is that a functional glaze is a typically a safe
glaze. Lee, you can attest to the tried and true formulas of Mashiko, as
can others close to other great pottery traditions, and those glazes work
because they do the job, and they do it well. We could keep ourselves up
all night worrying about the safety aspects of every aspect of pottery. My
brother got his head stuck in a 150 year-old shaker chair when he was 9, but
as they say 's--t happens', same goes with pots. I'm going to stop here
because I could keep going, but really don't want to (as many people have
done so already, with far more eloquence, see the archives for more...)
That being said, I'm sorry, but I've got to break your monopoly Lee.
Your description of Japan is slightly skewed I think, no offense intended.
I'm working in a rural area supporting about 10 potters, 2 of which fire
wood (1 of whom is an American) the rest fire cone 05/06 electric, some do
salt, a lot do cone 10 gas reduction, and a few are moonlighting with raku.
I'd say pretty much like america. Mashiko is in a class unto itself, and
wonderful as it is, it is incomprable to any other pottery communities (save
its cousins in Japan).
Japanese potters as they are described in so many (slightly romanticized)
pottery books are a rarified breed. The traditional wheels are great I
grant you, but most potters I know here throw on an electric Shimpo. Their
workshops could be in Osaka, or they could be in Minnesota. Some have
plaster molds for plates, and some have computer controls for their electric
kilns, and they all make great stuff. The grizzled mystic firing tea
ceremony accoutrement is still around, but many people are making a buck
cranking out teapots, bowl, and mugs that could be at any local craft
festival or show in the states. And a ton of people capitalize on the
gaijin and tourist industry to boot.
As for the appreciation of pottery, I will agree that people have a general
knowledge of pots and crafts higher than in some other places (namely the
states). Most adults can name a living national treasure or two, but today
my toothbrush rests in what is probably a 40,000 Y tokkuri, and the 1000 Y
sushi we bought from the supermarket tonight was served on a platter bought
at a special Hankyu gallery show (57,000 Y if I remember correctly). We
baked a cake for dessert in the oven, cooked kitsune Udon on the stove, and
never touched the microwave. Heck the only time I ever use the thing is to
heat up coffee, defrost a rice ball, or nuke a mochi. Just like in the
states. And bear in mind I live in a town of about 100 people. All the old
gals are still out there hunting for wild veggies and whatnot in the woods,
people hunt wild boar, and there is 1 tractor that gets occasional use in
the fields and paddies.
But like elsewhere in the world, things are different wherever you go. I'm
Manhattan-born, but my grandmother still hits the outhouse every day and
throws in lime when she's done, and that is maybe 2 1/2 hours from NYC.
Same in the good old land of the rising sun. (not that I'm lecturing, this
is mainly for the rest of the posters, sorry).
And though I probably sound ripe for a whacking, I do agree with you in the
end Lee. There is no substitute for the influence that handmade items have
on our daily life, and I wouldn't want a world without them. The fact that
I am working to make these items is me doing my part for this force that I
hope might reach people. But I still back our good mayor and moderator, in
sometimes you need some cheap china and tupperware at Walmart.
My toothbrush may sit in something that has a more lofty purpose than a
slipcast mug, but I love it. It is often one of the last things I notice
before I go to sleep at night. It is a wonderful Bizen piece, warm oranges
and moody grays and blacks. It has weight and presence and a solemn, quiet
dignity that I can only hope to give my pots. So maybe someone does give
their toddler OJ in a matchawan,@If the pot is loved who cares? And even
you cannot deny that the Japanese are changing, not all play by the rules
anymore.
And Japan has better saran wrap than in the states, but they do get it in
fewer colors.
So before I go any farther, and get a hit put out on me, want to say thanks.
Love your pots Lee, love the Shinos too, been checking the site since you
started pitching it. Would love to see your set-up and kiln, see how you
get stuff done. If you are up near Sasayama or Nishinomiya drop me an
email. Oh, and thanks for the glaze formula\advice, hope it comes in
handy. Firing starts during Golden Week. 6 days with oak, it will be fun,
thats sure.
Enough for now. Let the bruhaha begin.
:D
Owen
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