A Rewarding Two-Person Exhibition

Hanada: Thank you so much for the joint exhibition with Mr. Hanaoka last November.

Takashi Yomiya : Seeing my own work right next to Mr. Hanaoka’s allowed me to look at what I do objectively, and it made me want to elevate the quality of my craftsmanship even further. Simply put, it means making things more soundly so that they are completely stress-free for the user. That includes not just how they look, but also their user-friendliness, like durability and weight.

Hanada: So you definitely felt a sense of achievement.

Takashi Yomiya : Yes. It gave me the confidence that staying true to my own sensibilities is the right path.

Hanada: It was truly impressive to see two artists, both so sincere and honest with their own sensibilities, engage in such a genuine creative showdown. The chemistry between your works was excellent too. Did you always aim for the style you have now?

Takashi Yomiya : When I first started pottery, I was actually interested in tea utensils. I originally entered this world because of my love for antique Karatsu ware, and when I first went independent, that was the kind of work I aspired to make. But I couldn’t do it at all. More than a technical issue, those kinds of pieces just didn’t come from within me. One day, I realized that it simply wasn’t inside me, but it was painful until I reached that realization. I was struggling desperately. However, once I accepted it and decided to make things I could be honest with—to just fire what I could fire—things became much easier. Now, I hope my work becomes a classic a hundred years from now.

Lessons from Apprenticeship

Hanada: Your experience at Ryuta-gama, where you did your apprenticeship, must have been significant as well.

Takashi Yomiya : Seeing the master and the people there use everyday tableware made me realize that such a world existed. Until then, I only knew about classical pieces or works by Living National Treasures, so Mr. Nakazato’s world was a revelation to me.

Hanada: What you gained from Mr. Nakazato was the firsthand experience of his everyday life as a ceramic artist.

Takashi Yomiya : While I knew about classics and Living National Treasures on one hand, it was also during the bubble economy era, so magazines were filled with glitzy food and tableware (laughs). Knowing only those two extremes, I think I had become too theoretical. I was genuinely amazed during my apprenticeship by how beautiful and stylish a simple dish of simmered vegetables could look.

Hanada: The dining table at Ryuta-gama taught you something truly important.

Takashi Yomiya : Even though it was more than twenty years ago, I still clearly remember the scene of my first dinner there. Right at the start, I was scolded severely for my table manners. I was already nervous, and being yelled at made my hands shake so much that I couldn’t even pour the soy sauce properly (laughs). I had no idea what I was eating. That meal definitely ranks in the top three most memorable dining experiences of my life.

Hanada: (Laughs) The fact that you can laugh about it now means it is a fond memory for you.

Takashi Yomiya : Absolutely. Including experiences like that, I believe I learned the absolute fundamentals of pottery making at Ryuta-gama.

An Awareness of “Texture”

Hanada: Is there anything you keep foremost in mind when making your pieces?

Takashi Yomiya : Just that they make food taste delicious, I suppose. And that they are as light and durable as possible. I’m sorry, but to be honest, I don’t think about it too deeply; they just turn out this way when I make them (laughs).

Hanada: You often use the word “texture,” don’t you?

Takashi Yomiya : I don’t mean texture just in the superficial sense of the pottery’s surface, but rather a sensation that has become ingrained within me. There is an acceptable range for my personal sense of texture. There are boundaries too—like making something precisely, but without letting it become too rigid. Or, while it must be easy to use as tableware, I also want to preserve the natural quality of the clay. I try to hold back various elements just before they compromise others. My own sense of texture serves as the benchmark for that.

Hanada: Does that sense of texture change from time to time?

Takashi Yomiya : I think the texture you like remains unchanged. It is something you are born with. For example, even in my work, when I think I’ve come up with a brand-new idea, I often find I made the exact same thing a few years ago. And I usually made the same kind of mistake back then too (laughs). But it is slightly better than it was a few years ago. I build upon those small improvements bit by bit to develop my work. For me, my sense of texture is the foundation for moving forward. While I believe texture inherently stays the same, I’ve recently been careful not to dismiss things too easily so that I don’t narrow my horizons. I try to consciously accept everything.

Hanada: For instance?

Takashi Yomiya : My taste in women, perhaps (laughs). And alcohol, wine…

My Own Style

Hanada: Haha, it sounds like you are enjoying life. Now, returning to our topic, among the pieces created that way, there must be many that hold special memories for you.

Takashi Yomiya : Countless ones. Moreover, if you look at my workshop, you can tell that I do things that almost nobody else does. Other potters often don’t believe me when I tell them. They say, “I tried that, but it’s impossible” (laughs). In short, when you work in your own unique way, you create something distinctive. If you do the same thing as everyone else, you will only get the same results. The only things I still do exactly as I was taught are using the pottery wheel and the firing method. The slip decoration and glazing techniques are all entirely self-taught. My current work is a collection of things that I found interesting after various trials.

Hanada: Where do your ideas come from?

Takashi Yomiya : From failures. Most attempts end in failure, but I discover something from them. Also, our brains can be quite unreliable; things we saw somewhere or heard from someone before can surface as our own ideas. That can be dangerous. Lately, I verify every idea that comes to mind.

Hanada: Your work includes many highly original items like soup cups and your distinctive shinogi (incised patterns), which have now become established as a signature style for tableware.

Takashi Yomiya : Having people make similar things means it’s in vogue, so that’s not a bad thing. Besides, from my perspective, it would be harder and lonelier if no one tried to copy me (laughs). If everyone copies it and it becomes a trend, it ultimately comes back to benefit me.

Hanada: How do you see your life in pottery unfolding from here?

Takashi Yomiya : Right after going independent, I planned to make a living by traveling around craft fairs and pottery markets nationwide. But when I went to report my independence to my master, he told me, “If you can’t hold a solo exhibition in Tokyo, there was no point in you being here.” I just went along with him and said, “Yes, of course,” and hurriedly changed my direction.

Hanada: (Laughs) You certainly followed through on your words.

Takashi Yomiya : Truthfully, it was tough. I used to think that if my work sold well, life would get easier. As it turned out, the more it sells, the busier and harder it gets. It’s not that I just want to take it easy, but I still hold onto the dream of traveling around and selling my work from a camper van once my children are independent… someday. Looking back now, I don’t think I was a very good apprentice.

Hanada: These days, doesn’t Mr. Nakazato say that you are the one working the hardest?

Takashi Yomiya : That makes me happy. But back then, he even told me to quit pottery and become a chef.

Hanada: He must have meant that in a complimentary way.

Takashi Yomiya : I hope so. Come to think of it, he rarely praised my pottery, but his evaluation of my cooking was high. He even went so far as to offer to introduce me to a restaurant for employment. I wondered if he was actually serious (laughs).

Hanada: That is precisely why you can create such wonderful tableware.

Takashi Yomiya : There is a real sense of excitement when food is arranged on a piece of pottery. Besides, I just get thrilled when I am cooking.

Hanada: That is a natural talent.

Takashi Yomiya : Actually, cooking and pottery require a similar way of thinking. The concept of making something delicious out of whatever is in the refrigerator—I love the idea of building something up from scratch.

Hanada: You enjoy the process of construction.

Takashi Yomiya : Even if you don’t have convenient tools, it’s fun to improvise within those limits. For instance, the feeling that a dish will reach the perfect tenderness if simmered just a little longer is very close to the feeling in pottery that if I hold out just a bit more during firing, the glaze will melt beautifully. The crucial aspects are similar too. In both cooking and pottery, the cooling down period is vital. Preparation is equally essential for both. Kiln firing begins the moment you start preparing the clay.

Hanada: What does Amakusa mean to you?

Takashi Yomiya : Amakusa is where I was born and raised. In a good way, people here don’t pry into others’ business and just leave you alone. That allows me to work freely. It doesn’t become awkward even if I decline social invitations (laughs). The summers are cool, the winters aren’t too cold, the food is delicious, and it’s reasonably close to urban areas. I want for nothing. I sometimes think about moving elsewhere, but I always end up staying in Amakusa.

Hanada: Have you loved cooking since you were a child?

Takashi Yomiya : I was an overweight child in elementary school. When I came home from school, I would cook and eat ingredients from the restaurant (Mr. Yomiya’s family ran a restaurant). I used to plan menus during class.

Hanada: You are truly dyed-in-the-wool.

Takashi Yomiya : Consequently, I was always last in the marathon races.

Hanada: (Loud laughter) Well, we look forward to your solo exhibition.

Takashi Yomiya : Since it’s summer, I am also making vibrant pieces and porcelain. White items. It’s a summer version of the exhibition. I’ll be careful to ensure my work doesn’t make the summer feel oppressive.

Hanada: Thank you very much. I ended up asking all the questions, but do you have any final words?

Takashi Yomiya : I suppose I should say something clever and sophisticated… but for the past few years, I haven’t been thinking about anything like that. I don’t really want to explain my work. I try not to worry about the pains of creation or how others evaluate me. In the past, I used to say a lot of rationalized, logical things after the fact. There are times when you feel that logic helps you express yourself, right? But I’ve graduated from logic. Lately, I feel it’s better not to talk too much.

Hanada: Thank you very much.

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