Born and Raised in a Potter’s Family

Hanada: Your father also works in ceramics. When you were small, you must have had many chances to watch him work.

Haruya Abe: I often helped out from elementary school. Well, “helped” might not be the right word—it was more like I was made to help (laughs). Mostly chores.
Ceramics involves a lot of small tasks in between the actual work. It didn’t feel like “creating things!” so I didn’t find it fun at all. Back then, Saturdays were half-days, right?
Just as I was about to go out and play, they’d say “help out” (laughs).

Hanada: Were your older brothers involved too?

Haruya Abe: We were in it together—fatefully (laughs). All four of us brothers disliked it.
The eldest seemed willing to inherit the family business when he was young, so maybe it wasn’t as bad for him.

Hanada: Now, you’re the only one in the family working in ceramics, right?

Haruya Abe: The eldest tried it at first, but when I was in my second or third year of high school, he said he wanted to do something else… I thought, if no one is going to do it, maybe I’ll give it a try. That’s how it started.

Hanada: So the reason is that no one else would do it (laughs).
Even so, I imagine you also considered that if no one took over your father’s work, it would be a problem.

Haruya Abe: At first, I wanted to go to culinary school, but things turned out differently…
I ended up going to the Seto training school.
I could leave home if I went to Seto, so I lightly decided to give it a try.
Once school started, as the son of a potter, I had hardly touched clay, so I couldn’t knead it, couldn’t use the wheel, basically couldn’t do anything (laughs).
Well, I could do packing, maybe (laughs).

Has It Really Ended?

Hanada: After school, you went to work with Izuru Yamamoto in Bizen.

Haruya Abe: I wanted to become an apprentice.
Then someone suggested Bizen, and I thought, “Okay, let’s go with that.”

Hanada:(laughs)

Haruya Abe: I also wanted to learn about unglazed firing different from my father’s style, and wood-fired kilns.
I stayed three years, and the teacher was friendly and explained things while working.
He would say, “When making this shape, imagine it like this,” and show me as he worked.

Hanada: Of course, there were strict moments as well.

Haruya Abe: One time, the teacher asked me to prepare clay for a vase. I prepared it too soft. For vases, it shouldn’t be that soft.
He scolded me, saying, “Just because you think you’re done, doesn’t mean it’s really done.”
I often do things without thinking, but that phrase stayed with me.
To create something properly, you must follow the necessary steps; otherwise, it won’t turn out well. I learned this lesson, which seems obvious now.

Hanada: I feel like there are many things I think are done but aren’t really finished…

Haruya Abe: Even now, at work, I feel like I’m asked, “Is this really finished?”
Whether it’s done or not is often just about whether I want it to be done.

Hanada: “Are you really satisfied with this? Did you do it properly?”

Haruya Abe: Looking back, I think that’s what the teacher meant. That’s why, even though he was usually calm, he was so strict.
It might not have been just about the clay problem.

Hanada: Do you remember something that made you happy?

Haruya Abe: When I was leaving, he said, “You worked hard without ever taking a day off.”
That was the only thing I was praised for (laughs).

Hanada: Three years, no tardiness or absences!

Haruya Abe: Well, yes. I remember feeling happy that he had noticed.

What Flows Naturally Within Me

Hanada: After Bizen, you initially worked with your father.
Compared to your childhood, your father’s work must have looked different, and you probably learned a lot.

Haruya Abe: I think I learn a lot unconsciously. What I inherited from my father is definitely incorporated into the flow of my own work.

Hanada: One year later, you were truly on your own.

Haruya Abe: It was tough. I was just over 20 at the time. I couldn’t even wake up on time or start work on time properly.

Hanada: After a while, you came to Hanada.

Haruya Abe: I was 23. At first, I was told, “Come back after a year,” and at my next visit, I got an order. The first order was a katakuchi pouring vessel and a shinogi-ichimatsu teacup.
I never imagined my current situation back then (laughs).

Hanada: You just went with the natural flow to get here, it seems.

Haruya Abe: I don’t think much. It’s not as glamorous as saying “I was guided,” but I think, “If it doesn’t work, I can go back.”

Hanada: In a good way, you always seem to have an easygoing attitude, not fixated on narrow ideas.

Haruya Abe: For example, when asked “Which piece in this exhibition do you like the most?” I struggle to answer.

Hanada: What do you answer?

Haruya Abe: “None.” It may be a disappointing answer, but I don’t work in a way that focuses on one favorite item.
Nowadays I use my name, Haruya Abe, but before that, my family’s kiln would, for example, mass-produce Minpei Kashu’s tableware.

Hanada: People like you support the foundation of the Japanese ceramics world. Your pieces are functional, not overly assertive, and respect the purpose of tableware.
Of course, at reasonable prices. You make a moderate amount—neither too few nor too many. It’s reassuring to have your perspective.

Haruya Abe: Of course, each piece is made with care, but I don’t aim to sell it based on the intensity of my feelings.

Hanada: Indeed, you aren’t consciously putting your feelings into it. But it seems that, naturally, you’re completely present in the work.
Being born in a potter’s family and facing the maker of the tableware you use, everything blends naturally. You don’t feel like you’re making something special.

Haruya Abe: I don’t treat ceramics as work. I just enjoy making them.

Hanada: That suits you well.

Haruya Abe: Being praised or seeing people enjoy my work motivates me. Even if I’m not praised directly, people are using my pieces. That allows me to continue making more.Being able to keep creating is a happiness.
Sometimes I talk with my family, “Why do we make so much? Is it really okay?” (laughs) But somewhere, someone is using them. Even if I rarely see it, it makes me happy and sometimes nervous (laughs).

C’mon, me, get it together!

Hanada: Are there tasks you want to do or don’t feel like doing?

Haruya Abe: Honestly, yes. But often it’s just a self-imposed limitation.
Like with this oval plate—I thought I wasn’t good at slab work. But this time, I found it surprisingly enjoyable.

Hanada: “Hey, I have talent for slab work too!” (laughs)

Haruya Abe: No, not like that (laughs). I just thought I didn’t like it, and that’s why. Once I committed to it, it became really fun.

Hanada: You do it out of necessity. When someone like me brings reference materials. This is typical of how you go with the flow.
And your amazing quality is that you never say “NO” to any request. You always accept. I must have asked some rather selfish things before.

Haruya Abe: Yes (laughs). But including those experiences, I can grow.

Hanada: I must grow too.

Haruya Abe: “C’mon, me, get it together!” (laughs) Most potters work alone. You could slack off if you wanted. You could pick only the work you like, but stepping forward is important, isn’t it?

Hanada: It certainly is.

A Little Consideration

Hanada: When working, what do you consider important?

Haruya Abe: I don’t have a grand policy, but I always think about how people will use the pieces.
For example, I make sure patterns don’t interfere with food presentation. Choosing in a shop is just the start for the tableware. I want to make it with that in mind.
Even when I make new works, I have almost no truly original pieces.I just want to offer traditional and existing designs subtly for modern living.

Looking Forward to May

Hanada: Are there any memorable new works for this exhibition?

Haruya Abe: Slab work. And I was able to finish the handle of that mug beautifully and cutely.

Hanada: You’ve also started light blue glaze.

Haruya Abe: I like this soft, deep feeling. It makes the engraved and relief designs stand out clearly.

Hanada: The atmosphere is similar to the old Imari six-inch blue plate you saw before.
Compared to thickly glazed dark pieces, you can see beyond the glaze, like looking at a lake. Technically, it also makes the decoration stand out.

Haruya Abe: This light blue glaze feels soft and nice.
Recently, I’ve been keeping my work from becoming too refined. I try to leave a little imperfection. For daily use, this is just right, thought.

Hanada: It brings out your strengths.I look forward to the exhibition. See you in May.

Haruya Abe: Yes, I’ll make it with full energy!