Ten-sided Plates

Hanada: I would like to ask you about your new pieces for the upcoming exhibition. First, could you tell us about these ten-sided plates? They come in two sizes. You looked at a piece of vintage Ko-Imari white porcelain as a reference, right? Personally, I think the final pieces turned out so well that people wouldn’t even realize they were inspired by Ko-Imari unless they were told. Did the vision come to you immediately when you first saw that white porcelain?

Yujiro Koga : Yes, I immediately imagined something that would suit pottery, rather than the delicate feel of porcelain. Even when I make things according to an initial idea, the result can sometimes turn out differently, but this one came together very smoothly.

Hanada: While keeping the ten-sided shape, you decided not to make it with a scalloped rim. Were there any other elements you incorporated?

Yujiro Koga : I tried to keep the center as flat as possible while giving it deep, upright sides. The curve itself is beautiful, and I think it functions very well for practical use.

Hanada: The original piece was around this size, but you also made a larger version for us.

Yujiro Koga : Since the center is wide, I felt an 8-sun (approximately 24cm) size would be a bit too large, whereas a 6-sun(approximately 18cm) size would feel awkward. So, I decided on a 7-sun (approximately 21cm) size.

Hanada: These ten-sided plates do not feature the ash glaze, correct?

Yujiro Koga : Based on my personal intuition, I choose glazes that best complement the specific shape of each piece.

Hanada: This straw ash glaze goes wonderfully with it. It is a perfect match.

Octagonal Plates

Hanada: Next, let’s look at this corner-cut plate. You looked at a vintage European piece for this one, which was originally much larger.

Yujiro Koga : I changed both the size and the proportions. If I had kept it exactly as it was, it would have looked too Western.

Hanada: Those original proportions might have been difficult to use on a Japanese dining table. The final shape turned out beautifully.

Yujiro Koga : At first, I thought a square shape might actually be better, but when I tried making a rectangular version, it worked out very well. It feels like a traditional plate used for grilled fish. I hadn’t thought of this approach before, so it was enjoyable to make.

Hanada: What kind of approach was new to you?

Yujiro Koga : Octagonal and corner-cut shapes have long existed in traditional Japanese tableware, but the way the sides rise and the feel of the rim were different from what I had done before.

Hanada: The slight lift at the very edge works effectively.

Yujiro Koga : I think it is better to have it. It gives a sense of containing everything nicely.

Hanada: It tightens the design and gives character to the entire piece.

Yujiro Koga : Yes, because the glaze becomes thinner there.

Hanada: How about its practical use?

Yujiro Koga : For the smaller one, although I made it, I can’t quite think of a specific use myself (laughs). I would love to hear how customers end up using it.

Hanada: (Laughs) Perhaps for grilled eggplant?

Yujiro Koga : Ah, yes, that would work.

Hanada: The larger one is easier to imagine, isn’t it? For meat dishes, for example…

Yujiro Koga : Yes, exactly.

Kohiki, Hakeme, Yakishime…

Hanada: By the way, in your early days, you focused exclusively on Kohiki and Hakeme.

Yujiro Koga : Yes. I only started working with things like black glaze recently.

Hanada: Did you admire antique pieces when you chose Kohiki and Hakeme?

Yujiro Koga : When it came to pottery, those were the only styles I could think of (laughs). I didn’t paint designs or think about decorating the surfaces. However, I originally liked Yakishime. My initial entry into pottery was actually through Yakishime.

Hanada: Styles like Shigaraki or Bizen ware?

Yujiro Koga : Yes, Shigaraki and Bizen.

Hanada: For everyday tableware, Kohiki and Hakeme certainly offer more versatility than relying solely on Yakishime. Do you have any Yakishime pieces for this exhibition?

Yujiro Koga : I tried making some sake ware, but the final result wasn’t quite where I wanted it to be, so I decided not to include them this time.

Hanada: Do you fire them in the same kiln as the other pieces?

Yujiro Koga : Yes, in the very front section where the temperature rises the highest and the pieces get covered well with ash. However, unlike an anagama kiln, a climbing kiln doesn’t catch a lot of ash. Essentially, a climbing kiln is meant for clean firings, so I am thinking about how to approach the kiln setup a bit more moving forward.

Hanada: Do you plan to modify the kiln again?

Yujiro Koga : I am thinking about dismantling the kiln I previously built just for Kohiki and rebuilding it. I couldn’t manage to do it in time for this exhibition, though.

30 Years of Hakeme

Hanada: Next is Hakeme. Your Hakeme pieces have many fans among the staff here at Hanada.

Yujiro Koga : For Hakeme, there is a method where you apply the slip directly with a brush, and another where you dip the entire piece into the slip and then run a brush over it. I usually use the latter method. I find that brushing it when it is semi-dry creates a lighter feel. The former method has its own charm, bringing out a rougher and more rugged texture. I used to do both, but now I prefer to apply the brush strokes lightly over the surface.

Hanada: When it is semi-dry.

Yujiro Koga : If it is too dry, you won’t get the brush marks, and if it is too wet, it doesn’t form distinct brush lines and looks too thick. It is hard to describe, but you lose that sense of sharp, moving lines.

Hanada: It has been over 30 years since you started making Hakeme. Has your approach changed compared to the beginning?

Yujiro Koga : Just like working on the potter’s wheel, it is like driving a car. I don’t think about it too much anymore; my body just reacts naturally.

Hanada: The Hakeme on the donburi bowls has a different feel.

Yujiro Koga : I have been making donburi bowls continuously, so I still use the same white clay that I have used since the early days. This clay has a stickier quality and feels closer to porcelain. The clay itself contains very little iron, making it less prone to developing reddish tones.

Hanada: Thank you very much. We look forward to the exhibition.

Yujiro Koga : Thank you, I look forward to it as well.