What does Yamaguchi Yuichi of Kodaiyaki Issakigama think about his work?

" JAPAN TRADITIONAL CRAFTS WEEK " will be held again this year, starting on October 29th. It is an event where you can enjoy shopping while touching traditional crafts from all over the country, while touring lifestyle shops scattered around Tokyo.
This marks the 8th time the event is being held and it will be held at 38 shops in three areas: Aoyama, Ginza, and Nakameguro.
It's so easy is also participating as one of the shops. It's so easy will be exhibiting and selling works by Yuichi Yamaguchi from the Shodai-yaki Ichisakigama kiln.
To ensure that everyone can fully enjoy this period, we interviewed the ceramic artist Yuichi Yamaguchi directly. We hope to share his thoughts on his work with you.

[Below is the interview]
It's so easy: First, please give us a brief explanation of the Shodai-yaki Ichisaki Kiln.

Yamaguchi-san: Kodai-yaki is a type of pottery with a long history that has been fired on Mt. Kodai in Kumamoto Prefecture for 400 years. Originally, they made matcha bowls for feudal lords, and it is one of the pottery designated as a national traditional craft. My father was the first generation owner of Kodai-yaki Ichisaki-gama, and I am the second generation owner.

It's so easy: Was there a particular incident that prompted you to start making Shojoyaki?

Yamaguchi-san: Of course, my father's experience of making Shojiyaki was a big factor, but since Shojiyaki was originally a folk craft, many people of my generation had the image that it was a bulky, heavy-looking piece of pottery. So I think the big starting point was my desire to create a piece that would make people of my generation say, "Shojiyaki is cool."

It's so easy: I see. Your work is certainly stylish, and I got the impression that it would look good in both Japanese and Western styles. Is there a definition of Shodai-yaki?

Yamaguchi: Yes. There is a definition, and the base of Shodai ware is made from iron-rich soil (Shodai clay) and covered with straw-ash glaze, which is made primarily from straw. I use this, then consider my own style and feel, and incorporate it into my work while arranging it. The easiest example to understand is that there is a blue Shodai plate in my work, which is made with the traditional straw-ash glaze inside and the edges of the plate are dyed black and fired. This tightens the blue color, and although it is Shodai ware, it gives a sharp impression rather than the chunky feeling that is traditionally associated with it. The dye pigments are also natural pigments that have been used in ceramics for a long time.

It's so easy: I see. So you can sense that technique in the works you're presenting this time.
I'm getting more and more excited!
The Ao Shojiro plate that was mentioned in the previous story was one of Yamaguchi's most memorable pieces. Is this "Ao Shojiro" a series that is highly popular among fans?

Yamaguchi: Yes. Among my works, "Ao Shoji" is one of the most popular. Actually, this blue color is very difficult to produce. It's a little difficult to convey if you choose the nuance of the words carefully, but Ao Shoji is not a specialty of Shoji ware. For example, the temperature is different even in the kiln, so even if you make five identical pieces and look at the finished product, it is not true that they each reproduce the same blue. There are also moments when a piece placed in the corner of the kiln happens to have a "good blue" that cannot be expressed in words. It would be easy to say that it was "accidental," but if you consider this as a mysterious work that has no clear reason, I think it is a big attraction of the Ao Shoji series that I make.

It's so easy: I was surprised at how difficult it was to reproduce the same color.
It's a unique blue that draws you in just by looking at it.
The Aoshoyo series, where you won't find two pieces with the same color (texture), is very attractive to customers who pick it up as a once-in-a-lifetime experience. By the way, I really liked the Kuroyu series because all of the pieces are chic and have such a good design that they could even be used as interior decorations. This is just my personal opinion, but I like coffee and tea, so I'm particularly interested in the teapots, coffee drippers, and servers.

Yamaguchi-san: Thank you. Just like with mugs, I pay particular attention to the size of the handle when pouring with one hand and the spout when making teapots. In particular, I pay attention to the rhythm of the hot water coming out of the teapot, which is often heard in teapots. How can I make it flow smoothly and smoothly? I think about this and make calculations while making it. I also made it so that the structure can avoid the stress of dripping, which is unique to teapots. And about the coffee dripper and server that you requested... This takes a long time to make. The dripper part is actually made by hand. In other words, it is "unmolded". Therefore, it cannot be mass-produced, and even if we make the same thing, each one will have a different expression. This time, I will only accept orders from those who have time. That's the kind of work it is. (laughs)

It's so easy: Wow! The dripper is made by hand without a mold! Hearing that makes me want it even more.
The joy I felt when I got it was an indescribable feeling of bliss.
This makes my urge to drip coffee even more intense.

Yamaguchi-san: Actually, the black glaze series also develops a different depth as you use it. When pottery absorbs moisture, the moisture settles in and the lustre develops. The black glaze series in particular develops a moist, beautiful gloss after about 5-6 years of use. I think that's another part of the fun of using it.

It's so easy: Wow! I really want it! The more I hear about it, the more I'm drawn to the depths of Yamaguchi's work. Finally, could you tell us about your biggest "particulars" when creating your work and your "feelings" about it?

Yamaguchi-san: Yes. Of course it needs to be easy to use, but there are a few things I've been particular about. First of all, the silhouette when you look at the piece from the side. I've calculated the shape so that it looks good not only when you're using it, but also when it's placed on a shelf.
Another thing is that we value depth. We put a lot of thought into the manufacturing process to enhance depth, but we also value "depth" in a different sense. Tableware also develops a unique "depth" as it is handed down over time as a part of daily life. After decades have passed and the tableware has developed a certain character, you might suddenly see light shining on the plate on the table and think, "Ah, this is really nice, I'm glad I bought it." Our ideal is to create tableware that you never tire of.

It's so easy: Wow, what a wonderful thought you have. I can picture the scene in your story. When I think of such thoughts being put into it, I want many people to come and find that special "one thing" that they want to use forever while imagining their own lifestyle!

Yamaguchi-san: That's true. I would be very happy if many customers could see the actual products, pick them up and make a selection.

It's so easy: The main venue during the event will be Aoyama Square. Several of Yamaguchi's works will also be exhibited at Aoyama Square. It's so easy will be the main sales venue for Yamaguchi's works. We look forward to seeing you there♪

*The next interview article will include a Q&A about the products on sale.