“My pottery and Me” – Yujiro Koga

While firmly rooted in traditional earthenware, Yujiro Koga’s work carry a casual, refined charm.
Once you begin using them, you quickly understand how their size, form, and texture are thoughtfully balanced, making them natural staples on the dining table.
What kind of pieces is Mr. Koga creating for the upcoming exhibition in May?

Hanada: When did your relationship with pottery begin?

Yujiro Koga: A friend’s father was a potter. As I kept visiting his house, I gradually became interested… and before I knew it, I dropped out of university, entered a training school in Seto at 20, and became independent at 25.

Hanada: Had you always liked making things?

Yujiro Koga: Yes—especially three-dimensional objects, for some reason.

Hanada: I see.

Yujiro Koga: Ever since I was a kid, I loved building plastic models and watching carpenters at work. I wasn’t good at studying, but I always did well in art and P.E. (laughs).

Hanada: If I remember correctly, you lived in the UK when you were in elementary school.

Yujiro Koga: From fourth to sixth grade, I think. We lived in the suburbs, about an hour’s drive from London. Back then, my days were all about playing football.

Hanada: Was there a Japanese school?

Yujiro Koga: No, so I went to a local school.

Hanada: That must have been tough, not knowing the language.

Yujiro Koga: Actually, I don’t remember struggling at all. After about three months, I think I had already adjusted. I don’t recall studying either… Looking back, kids really do learn fast. For me, it was more about making friends and picking it up naturally while having fun.

Hanada: How did you choose the location for this studio?

Yujiro Koga: Many people who train in Seto become independent in Gifu, but I’ve always liked being near the sea.

Hanada: And you built the house yourself.

Yujiro Koga: Yes. When I first came here, it was just a mountain. I cleared everything, dug a well, and started from scratch. While still living in Seto, I spent about six months building the basics. I wanted to live in a house where you could really feel the presence of wood.

Hanada: You can definitely feel that. Did it take one or two years to complete?

Yujiro Koga: No—I only just finished it recently (laughs). Anything that wasn’t essential kept getting postponed, or I’d change my mind and redo things.
I’m still tweaking the garden, too. That wild cherry tree over there didn’t bloom when I first arrived, but now it blossoms beautifully every spring. Watching those changes is really enjoyable.

Hanada: You’re originally from the Kanto area, right?

Yujiro Koga: I was born in Yokohama, then we moved to Isehara in Kanagawa, after that to Kansai, and then to the UK.
In the end, I’ve lived here the longest as a potter. My father worked for a trading company, so we moved around a lot when I was young.

Hanada: You’ve lived in many different places. That might be why your pieces don’t feel tied to any particular “local character.” They’re relaxed, without unnecessary rigidity or odd fixations.
By the way, your main works are kohiki, hakeme, and ash-glazed pieces— how did you arrive at this style?

Yujiro Koga: I didn’t really think about it consciously. As long as it suits me, I’m fine with anything. I’m glad I found what felt right fairly quickly. I did have a vague desire to make things that are genuinely usable. I pay close attention to texture and the quality of the materials.

Hanada: What about form?

Yujiro Koga: Simple and natural. I try not to overthink things intellectually.

Hanada: You mainly use a climbing kiln. When did that start?

Yujiro Koga: More than ten years ago. The first one I built was extremely large. The one I use now is the fourth. And over there—that unfinished one—that’s the fifth. It should be done soon.

Hanada: You can modify everything yourself.

Yujiro Koga: I completely cut off the power for the electric kiln, so from now on, it’s all wood firing.

Hanada: You shut off the electricity?

Yujiro Koga: Yes, the industrial supply. I want to rely entirely on firewood. That means I also need a smaller kiln with more flexibility, so I’m building one now.
The first kiln was enormous, and since I work alone, firing it three times a year was about all I could manage.

Hanada: You source everything yourself.

Yujiro Koga: Firewood and glazes, yes. For the glazes, I was given rice straw during last year’s harvest and fired it in that kiln. I got a lot of good results. Only the clay comes from places like Tokoname and Shigaraki.

Hanada: I see.

Yujiro Koga: When you rely on others, things end up slightly different from what you imagined. Putting an image into words is difficult. Even for me, it exists only as an image, so instead of struggling to explain it, I’d rather just make it myself.

Hanada: But without knowledge and skills, that wouldn’t be possible—especially building a house.

Yujiro Koga: True. I used to visit construction sites and watch craftsmen work from a young age. Though I wasn’t studying them that carefully.

Hanada: That alone?

Yujiro Koga: Yes. You more or less understand the fundamentals, don’t you?

Hanada: I suppose so (laughs). Finally, do you have any goals or dreams for the future?

Yujiro Koga: I want to keep pursuing the direction of my work so far. And not raise prices too much. They always need to be at a price I’d be willing to pay myself.

Hanada: Now, about the May exhibition. You’ll be showing katakuchi, guinomi, and a chilled sake cooler— what does “a tableware made for yourself” mean to you?

Yujiro Koga: Something I’d want to use myself, I guess.

Hanada: So, something for drinking?

Yujiro Koga: Exactly (laughs). People often come over to my workshop, so I want pieces they can enjoy drinking with too.

Hanada: Tableware for hospitality. That sounds wonderful—drinking here, talking about this and that.

Yujiro Koga: Yes. And out here, no matter how loud we get, there are no complaints. I really enjoy inviting people over and letting them have a good time.

*This interview was originally recorded in May 2009 and partially re-edited in April 2019.