Patterns of Slipware – Enjoying the Designs
– In the Case of Slipware –

Hanada: I think slipware has many attractions, and the patterns are one of them. What is the joy of creating patterns using slip clay, Mr. Yamada?

Yoji Yamada: Since I use slip clay that I cannot fully control with my intention, it feels more like the “movement” of my body rather than drawing patterns with my hands.

Hanada: It’s like a movement where rhythm and tempo are important. Even after drawing, the slip still moves. Controlling the movement of the slip is not easy.

Yoji Yamada: That’s right. On the other hand, you can make use of physical characteristics, such as surface tension.

Boar’s Head

Hanada: Please tell us about each pattern. First, the Boar’s Head. Is the key the “width”?

Yoji Yamada: The width changes the impression a lot. Also, the concentration of the slip.

Hanada: Do you aim for something specific?

Yoji Yamada: I aim for overall “consistency,” not just in width. I’m clumsy, so I cannot do fine tricks with my hands. I keep my hands fixed and use my whole body to create the movement.

Hanada:You didn’t learn slipware from anyone, right? Did you develop this sense while practicing?

Yoji Yamada: I tried various approaches and chose the method that suited me.

Feather Comb

Hanada: The feather comb adds another step to the Boar’s Head. How does that feel?

Yoji Yamada: I consider the spacing. Since there are stripes in the base, I match the intervals accordingly.

Hanada: When thinking about the feather comb based on the stripes, how do you decide the spacing?

Yoji Yamada: It’s hard to say in general, but for rounded shapes, a slightly tighter spacing might be better. Well, maybe not… You cannot decide based on the pattern alone, and it’s difficult to explain in words. Like the shape or firing, patterns are just one part, and I treat them that way.

Hanada: Adding the feather comb really changes the image.

Yoji Yamada: Yes, even if the stripes in the Boar’s Head don’t look good, adding the feather comb can improve it. Sometimes I intended to stop at the Boar’s Head but thought, “Let’s add the feather comb” (laughs). Other times, the Boar’s Head goes well, and adding the feather comb makes it even better.

Yoji Yamada: Also, the other day, we had a slipware retreat. Five slipware artists gathered together.

Hanada: That sounds fun!

Yoji Yamada: Each brought their own tools. Everyone’s way of applying patterns is different, but with their clay and glaze, fired in their kiln, it looks like their own work.
In the end, that’s the biggest factor… well, it’s unavoidable with ceramics.
Ideally, both the shape, pattern, and firing turn out well for slipware, but each is just a part. For patterns, “even if a flashy pattern grabs attention, it is nothing more or less than that,” is my feeling.
Compared to other pottery, it’s a distinctive part, so you have to compete there—that’s the premise.

Punyu Punyu?

Hanada: This pattern you calls “Punyu Punyu” is unique.

Yoji Yamada: In the sense that I am trying something people in the past did not do, I am satisfied with it.

Hanada: Did you come up with it while making the patterns?

Yoji Yamada: It’s more like I focused on utilizing surface tension.

Triplets

Hanada: How about the triplets? Do you do them often?

Yoji Yamada: Not really. This time, you said, “Do it.”

Hanada: I didn’t say “do it” (laughs). I just personally like them.

Yoji Yamada: Indeed, the triplets have a more instantaneous, live feel, which is interesting.

Hanada: For Boar’s Head and Punyu Punyu, you value tempo and consistency, but triplets have energy and momentum as their charm.

Yoji Yamada: I value a sense of speed.

Hanada: How about the circular patterns?

Yoji Yamada: Those use the rotation of the wheel. I tried to reproduce the feel of the Onta-style “Tobikanna” pattern radiating from the center using slip.

Hanada: The marbling seems almost uncontrollable. Do you get any sense of prediction after practicing?

Yoji Yamada: Yes. For mugs, I work with intention. I try to layer various colors well, but not let them get too messy… that kind of approach.

Hanada: Thank you very much for sharing. I look forward to the two-person exhibition in May.

Yoji Yamada: Thank you, I look forward to it too.