My Stor
My pottery serves as a translation of the beauty, inherent strengths, and my profound feeling of appreciation (お蔭様 – okagesama) for the materials that originate from the earth we inhabit. Each piece I create is imbued with a conscious acknowledgment of the geological processes and natural forces that have shaped the clay itself. This connection to the source is paramount in my work. Increasingly, I am incorporating local materials collected from the cliffsides of Northern California for use in my slips, glazes, and clay bodies. This deliberate integration of local materials is more than a practical choice; it is a way of honoring the specific place where I now reside. The subtle variations in color, texture, and mineral composition of these locally sourced materials become integral to the narrative of each piece, creating a tangible link between the object, its origin, and the viewer or user. It is my sincere hope that through this direct connection to the environment, those who encounter my work will also feel a deeper resonance with the earth that sustains us all.
Where it all started
My journey in clay began in my childhood in Japan, where I was captivated (and sometimes scared) by the sculptures in temples and found immense joy in creating dynamic forms with clay. While my artistic path briefly led me to explore the world of wood carving, I rediscovered the meditative touch in clay in my 20s and transformative experience through atmospheric firing. The unpredictable interaction of flame, ash, and clay in wood firing kiln leaves its distinct mark on each piece, creating unique surface transformations that chronicle the kiln's narrative and the collaborative spirit of the firing community.
Crafting Process
I am deeply captivated by the process of atmospheric-fired pottery and the use of locally sourced raw materials. Rooted in the folk craft tradition, each creation begins with carefully processing and testing locally sourced clay, rocks, and ash, often used as a slips or glazes. I primarily utilize the wheel throwing technique, finely attuned to clay’s inherent boundaries and character. Drawing inspirations from the rich traditions of Japanese surface decoration and glazing techniques such as kohiki, hakeme, and uchi/nagashi-kake, I infuse dynamism into the surface of my pieces. My practice also involves applying a diverse array of flashing slips to greenware or bisqueware, culminating in a 4-day anagama wood firing reaching temperatures of approximately 2300°F. Additionally, Iperform gas and wood soda firing. I honor the alchemy and elemental forces of fire and clay and embrace the unpredictable and dynamic nature of the firing process.