One Hundred Thousand Swallows

Hanada: When did you first paint the swallow motif?

Hanako Kusaka: I think it was around my first or second year after joining Kutani Seiyo.

Hanada: So you’ve been painting them for about thirteen or fourteen years now. Why swallows?

Hanako Kusaka: I wanted to paint an animal with a sense of movement. I considered various ideas, and when I tried painting swallows, I thought, “This is it.”
It started with this 15cm plate. I arranged them as if they were happily playing around. I added red-painted berries on the branches, imagining the swallows playing while aiming for the fruit, but Mr. Hata (head of Kutani Seiyo) said, “Swallows are carnivorous—they don’t eat fruit” (laughs).

Hanada: That sounds exactly like something Mr. Hata would say. What did you do then?

Hanako Kusaka: I replied, “That’s fine—they’re just playing with the fruit. They’re not eating it.”

Hanada: (laughs). When you paint them, do you focus most on the placement?

Hanako Kusaka: Yes. I think about how the swallows will come alive once food is served. I also pay attention to the number, since overdoing it wouldn’t work.

Hanada: Is the idea of them flying around meant to avoid giving the vessel a fixed direction?

Hanako Kusaka: That may have been part of it.

Hanada: Swallows in flight do give off this kind of impression, don’t they? The red berries really work nicely. Just for that single red dot, you’re firing an extra kiln.

Hanako Kusaka: Recently, there are underglaze reds with better color development, so I tried them, but the atmosphere still felt different.

Hanada: You’ve made countless swallow pieces by now. You must have painted around one hundred thousand swallows. Are each of those swallows different to you?

Hanako Kusaka: They are. The balance between the body and the head, or thinking, “The wings turned out a bit too thick,” or “The head’s a little too big” (laughs).

Hanada: I see (laughs). From now on, I’ll try to look at each swallow a bit more carefully. That sounds fun.

Thoughts Behind the Olive Motif

Hanada: Next, olives. If I remember correctly, it started when a friend was changing career paths…

Hanako Kusaka: Yes. It began as a gift, with the wish for “a fruitful life.” At first, instead of two shades of green, I used yellow and green, but it ended up looking like dead leaves and didn’t feel suitable for a new beginning (laughs). So I settled on two greens.

Hanada: Among so many fruit-bearing plants, why did you choose olives?

Hanako Kusaka: You occasionally see olive trees planted around, don’t you? I’d always thought they were nice when I saw them.

Hanada: The motif itself is very charming, and the way it’s stylized feels very much like your work. When it comes to details like the shading of the leaves or the color of the fruit, was there anything you paid special attention to?

Hanako Kusaka: Even with overglaze decoration, I’m not very good at using too many colors.

Hanada: At most, about three colors.

Hanako Kusaka: Even three feels like a lot to me when I’m painting. It’s probably just my preference, but I try to limit the number of colors as much as possible…

Hanada: The composition is also very appealing. It’s interesting from every angle, and even the inside is decorated so nicely. Do you first look at the form and build an image in your mind?

Hanako Kusaka: Ideas for painting plates usually come to me quite quickly, but arranging motifs on bowls takes time. With olives, though, it went smoothly.

Hanada: Which do you personally use most often?

Hanako Kusaka: I use the medium deep bowl all the time. For salads, hearty soups…

Foliated Rim

Hanada: Next, let’s talk about the rinka(foliated rim) pieces. About two years ago, I remember suggesting European black lacquer plates as a reference. At first, they were in red and blue.

Hanako Kusaka: I felt that just a rim line wasn’t interesting enough, so I added versions with floral motifs.

Hanada: Did you choose this particular flower motif from many options?

Hanako Kusaka: I don’t really select from a stockpile of ideas. In my case, I’m always scraping the bottom of the barrel (laughs).

Hanada: You’re being modest (laughs). That flower comes in various versions, doesn’t it?

Hanako Kusaka: At first, it was just a simple round center, but it felt monotonous, so I made three variations. I also tilted the stems instead of keeping them straight, to add movement.

Hanada: Is that process—adjusting and refining as you paint—something you enjoy? Gradually correcting things until you reach the goal.

Hanako Kusaka: When I finally arrive, I’m honestly happy, and the path leading up to that point is very important to me.

When a Pattern Fits the Form

Hanada: The octagonal small bowl is a new piece this time.

Hanako Kusaka: I started by making the form, then thought about a pattern that would suit it. I had plenty of small plates, but not small bowls—more like condiment bowls—so I decided to make one. Something compact but with depth.

Hanada: Do you like octagonal shapes?

Hanako Kusaka: I do. Now that you mention it, I really do make a lot of octagons (laughs). I wonder why eight and not six.

Hanada: Come to think of it, you don’t have any hexagons.

Hanako Kusaka: Just hexagonal feet, maybe (laughs).

Hanada: (laughs)

Hanako Kusaka: I never noticed until now. I’ll try making a hexagon next!

Hanada: The pattern fits beautifully as well.

Hanako Kusaka: I thought it might be interesting when food is served—the slight mismatch between the gosu blue and the negative space.

Hanada: There’s a sense of order, yet at first glance it almost feels irregular—that’s nice.

Hanako Kusaka: I felt relieved when the pattern settled perfectly into the form.

Hanada: Settled into the form…

Hanako Kusaka: When the painting clicks perfectly with the shape. A combination where you feel, “This couldn’t be anything else.” Whether it’s the motif itself or the placement… Do you know what I mean?

Hanada: Ah… yes, I do. I’m listening (laughs). This one is clearly a confident piece for you.

Hanako Kusaka: And then, the hydrangeas.

Hanada: You seem eager to talk about the hydrangeas (laughs).

I Love Hydrangeas

Hanada: All right, let’s talk about hydrangeas.

Hanako Kusaka: Sorry about that! I really love them.

Hanada: It’s rare for you—who are usually so modest—to recommend something with such confidence.

Hanako Kusaka: I actually had this out as a sample last time, but you completely passed it by. You even said, “This one’s fine,” and moved on.
I remember thinking, “Oh, it didn’t make the cut” (laughs).

Hanada: You remember being passed over, don’t you… (laughs). Sorry about that.

Hanako Kusaka: You really did just glide right past it.

Hanada: Why did you choose hydrangeas?

Hanako Kusaka: We have hydrangeas blooming at home, and they feel so refreshing. With their gradients, they contain many colors, yet even though they’re large, they’re not overwhelming.
It took time to turn them into a motif. This combination of deep violet and gosu blue was new for me, and although I hadn’t used it much before, I feel it worked out well.

Hanada: Did you consider doing them purely in blue-and-white?

Hanako Kusaka: I did, but I felt it would become too monotonous. I find the subtle difference between gosu and deep violet quite interesting.

Hanada: Thank you very much for sharing all of this. Looking back, it’s clear how much your range of patterns and forms has expanded. I’m really looking forward to the exhibition. Thank you in advance.

Hanako Kusaka: Thank you very much!

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