The Appeal of Tableware, the Appeal of Majolica

Hanada: What first inspired you to start making tableware?

Akinobu Ito : It was an issue of Geijutsu Shincho from about 15 years ago, titled “Modern Tableware Chosen by Antique Connoisseurs.” I read a panel discussion hosted by Keisuke Aoyagi called “What Makes a Good Piece?” and found the world of tableware fascinating. That was the beginning. I brought some of my white porcelain to Rozan, a shop run by Mr. Oshima, who stood out and looked incredibly cool in that feature.

Hanada: While you are widely known for your overglaze enamelware today, you actually started with white porcelain.

Akinobu Ito : At first, I only made small plates with overglaze painting, but now I offer a wider variety of shapes and colors. However, I constantly review my work to ensure it does not become excessive. Also, my idea to apply overglaze painting onto Kohiki ware was actually inspired by Majolica.

Hanada: Majolica ceramics are so bright, and the brushwork feels soft and expressive. It always looks like the maker enjoyed creating them.

Akinobu Ito : Looking at Majolica, I often think about how heavy and potentially difficult to handle it seems, yet it remains incredibly charming. On the other hand, if you worry too much about weight and make a piece too light or thin, it becomes delicate and loses its presence, which makes it challenging. Also, because the gosu (cobalt blue pigment) blends into the white glaze, it creates that beautifully soft atmosphere. The cobalt effect of gosu sitting on and melting into a tin glaze is quite different from when it lies beneath an ash glaze, as you see in Japanese sometsuke (blue and white) ware.

Hanada: The color of the gosu pigment itself is different too, isn’t it?

Akinobu Ito : Yes, I think the purity of the cobalt, or perhaps the condition of the pigment itself, varies.

Hanada: Sometimes people in Japan try painting with gosu on a Delft-like white base, but the pigment seems to sit unnaturally on top. It does not look fully integrated. It might seem like a small detail, but it makes a significant difference.

What Comes from Within

Akinobu Ito : I believe it is important to reflect deeply on these things. For instance, if you find yourself drawn to Majolica and want to create something inspired by it, you first need to explore exactly what it is you love about it. You strip away the surface layers to find the true source of its appeal, and then you integrate those elements into your own work. This process takes time, but thinking things through and putting in the effort to create something original is the most rewarding part of making things for me.

Hanada: So your expression is built upon your own interpretation of things.

Akinobu Ito : Yes, and that applies to more than just ceramics. I find inspiration and absorb ideas from architecture, clothing, fine art, and many other areas. However, while I love antiques, I have no desire to simply replicate them. I am always thinking about how to rearrange their elements. For example, just because a technique uses printed patterns (inban), it does not mean it has to be restricted to Japanese-style tableware; you could easily use it to make Western-style dishes. What I value most is what naturally emerges from within myself through experiencing antiques, whether by studying them or keeping them close at hand. Creating something just because it is currently trending would be boring for the people choosing my work.

Hanada: Especially now, when we can easily and quickly see other people’s work and current trends.

Akinobu Ito : I make an effort not to look, and I try not to listen either.

Hanada: In an age where information is so readily available, your approach of filtering out the noise and following your own path makes your work even more compelling.

Akinobu Ito : If I were to just mimic something superficially and produce it quickly, I probably would not be able to sustain it. I would lose interest immediately. On the other hand, when you produce a large volume of work, there is a risk of gradually becoming too cautious to avoid mistakes, which can cause your work to shrink.

Hanada: What do you mean by “shrink”?

Akinobu Ito : I suppose it refers to the scale or the spirit of the work.

Hanada: I see.

Akinobu Ito : For example, I recently bought some lusterware. Techniques like silver glaze or luster can become overly ornate and rigid if executed too meticulously, as if made for royalty. Finding the right balance is essential for any technique. It is about stopping just a step before it becomes too perfect, and then reassessing your approach once you grow accustomed to it. It is a continuous cycle.

Continuing as Always

Hanada: You work with many different styles of ceramics, yet every piece distinctly reflects your unique touch. No matter what kind of work you do, it always carries the same unmistakable atmosphere.

Akinobu Ito : I once thought about trying Chinese-style relief carving (yokoku), but when I tried it, it felt incredibly restrictive, and I realized it did not suit me. When something feels off, I make it a point to stop immediately. Even if something is interesting at first, you might find that it no longer feels right over time. I want to remain honest and true to my feelings. I also want to keep learning from everything around me. Masterpieces are not found only in museums; inspiration can be found anywhere. It is vital to see things that truly move you. I do not believe I can improve the quality of my work by only looking at what I make. It is not just about technical perfection; it is about moving forward to find what makes an object truly captivating. I want to continue encountering things that make me stop and think.

Hanada: Keeping things close to you is also important, isn’t it? One of the wonderful things about antiques is that you can actually use them, rather than just viewing them through glass as you would in a museum.

Akinobu Ito : In a museum, there are usually only a few pieces that truly resonate with you. Technical perfection and personal connection are two entirely different things.

Hanada: That is very true. When there is something specific I want to see, I often go straight to it first. Otherwise, by the time I reach what I came for, I am already too tired.

Akinobu Ito : You might gain something by looking at everything for a long time, but you would be completely exhausted before leaving the museum. Once you get used to it, you can scan quickly and the things you want to see will naturally catch your eye.

Hanada: And what catches your eye changes depending on the moment.

Akinobu Ito : Even at antique markets, things have a way of appearing or coming into your possession when you are mindful of them. Lately, I have been drawn to the yellow glaze of Mimpei ware. There is a sweet, appealing quality to it. I have tried various approaches, but achieving that exact tone is quite difficult.

Hanada: As we look forward to the upcoming two-artist exhibition, do you have a few words for your audience?

Akinobu Ito : Not really. I just plan to do what I always do.

Hanada: That standard approach feels wonderfully authentic to you. Thank you very much.

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