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Potters in Kyoto
by Gary Cherneff

(On this day, as we often were inclined to do,
we brought along photographs of our work to
share with anyone who might be interested.
Ourarival with documentation in hand seemed

to have brightened up a very
boring day for Kato-san with
an animated exchange about
pots and studios, woodfinng
and lifestyle. His studio is
just outside of the town of
Shigaraki on a= rural
mountainside. One of the six
ancient kiln sites of Japan;
the: area is just aday tip from
the Kyoto station. Rato-san’s
work exhibits al) the enthusi-
asm and spontaneity charac-
teristic of this famous meoca

for potters, He woexdfires his

chunks. His flower vases are freely thrown
and fabricated showing a lighiness of heart
and a sculptural sensibility. On our depar-
ture we warmly deliver invitations to visit
Salt Spring Island and
receive happily an invi-
tation to visit Shigaraki
the next time we are in
Japan and to participate
in a barbecue.

Kyoto has its share of
small independent gul-
leries and the division
between fine art and
craft is very blurry. An-
other happenstance en-
counter greeted us at the
Niji Art Space, a small
private exhibition vere

Kate, Takuahiko Flower Fase
thrown, Anagama woodfired with
red pine, natural ash glaze, cone

home built Anagama with red
pine, achieving rich flame
markings and ash deposits
deliciously melting, running
and pooling over the light

Kubo, Chisako dssembly of
bexes coloured glans, carved
desagn. H: approx 45,0 cm

ona main thoroughfare.
Kubo Chisako was in at-
tendance at her first one
person show. Her work

10-12. Hi 30.0 em

coloured stoneware embedded with fekispar

Join Neil McBriar

in a workshop on slab construction and

thrown components.

A day of demonstration and discussion on the freedom
and effectiveness of handbuilding functional and

contemporary ceramics.

Sunday October 6 9:30AM - 3:30PM

Lucas Centre Pottery Studio
2132 Hamilton Avenue, North Vancouver

North Shore Continuing Education 604.903,333

Course # PY¥Y94-1 $55 Lunch not included.

Potters Guild of British Columbia Newslemer

consisted of a series of identical cube
containers of four different sizes, The sur-
face of cach individual piece was precisely
constructed and glazed with a geametrical
motif. Like Rubic’s cubes, a relentless
mathematical vision informs these works.
They were arranged into larger construc-
tions that reiterated the geometric surface
treatment on a grander scale. The small
cubes are Like clones, which in their quan-
tity make up communities of like minded
and decorated individuals modularly
stacked like units in an apartment build-
ing. Kubo-san is the product of a rich and
sophisticated art education system in Ja-
pan, which values not only tradition but
also innovation.

Asa group we all came to agrec that a visit
to Kyoto is an essential experience in
understanding Japanese arts and culture.
There are many other important regional
centres, which add to the conviction that
the ceramic art of Japan is the single most
sophisticated tradition of our time. The
final segment of our journey will take us to
Bizen, Hagi and points in between.

See next inne for final cegment.
Gary Chemeff is Ans Exchange Chair of the
Salt SprinpGapan Exchanges. liv peal is ta
organize tours both ways berveen the Pacific
Aerthweet and Asta Pacific ana fe initiate
contact between aniists in fhe feo regions,

September 2002