Tales of edible plantings alongside ceramic ramblings, from a couple of artists lucky enough to be living on the Big Island of Hawaii.

Friday, May 21, 2010

Anagama Firing!



Back in April, I helped a very well known and extremely skilled Potter/Artist on the Island fire his Anagama Kiln. Clayton Amemiya Studied Ceramics on the Island Of Okinawa in Japan. He received a degree from the University of Hawaii as an Art Major, but it was not this same type of studying that he did on Okinawa. While working for the American Consulate there, he happened upon a local potter and his studio on one fateful day. This very skilled local potter, Seisho Kuniyoshi, soon became his teacher and friend. They spent much time visiting local galleries discussing pieces both of high merit and not. He was taught in a very hands off way, the same way he has begun to teach me as well. There were no tutorials on throwing, handbuilding or any other facet of ceramics, rather Clayton would show up, they would talk, they worked together, they shared chores that needed to get done around the studio and ultimately became very good friends. Only after being a part of this teaching process can I begin to understand why this way of teaching is so important to the Japanese culture. My aesthetics have improved markedly in the short time I have been helping out around Clayton's place. There is something so very important about developing good aesthetics and taste vs. only good technique. Had I focused in this way earlier in my life, I know now that I would have progressed much more rapidly in my work. The work quickly becomes a sequence, a pattern to follow time and in this way becomes what we do without the thought of it. Although there is much more to it than this, this is the first step and I am honored that Clayton has allowed me this time.



So what is an anagama? You may be wondering. I think the closest translation is "Chamber Kiln". A very traditional Japanese Kiln which finds its root from Korea. It is usually built into a hillside in order to achieve the slope necessary to draw the fire and ash through it's innards. It is wood fired and, in this case, consists of a 100+ hour firing. None of the pieces are glazed, as the glaze would be obliterated by the heavy ash deposited on the pieces. It is really a lot of work to prepare for and support these firings, so they are not done as often as normal gas or electric firings. In total I think 4 cords of wood, maybe more, were used to sustain accurate temperatures for the right length of time. All in all, in my opinion, this is the epitome of what a wood fired kiln should be (with the exception maybe of a Noborigama in order to include glazed ware). Beautifully designed and built, it cradles the pieces as they are transformed by the fire.





The firing was a huge success!

I was honored to be present at the start of the fire, many times in between, the end of the fire to seal up the kiln, as well as the unpacking which occurred some 4 days later. The pieces inside were absolutely beautiful. They exemplified this idea of "Quiet Beauty". The pieces were examined one by one. Choice pieces were hand chosen by Clayton for and up coming show, and the rest quickly dispersed amongst the few tasteful galleries lucky enough to carry his work.



I consider myself very lucky to be able to be a part of this tradition. Many thanks to Clayton for all his help in educating me on this tradition as well as being so patient with me. I hope to repay him through time, effort and advancement in my own work.

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