Olive Glaze Pouring

Hanada: I’d like to ask you about the pieces you’re planning to exhibit this time. First, the 6.5-inch Olive Glaze Pouring plate.

Kodo Kiyooka: This has the olive glaze along with another type of glaze.

Hanada: Compared to the plain “Olive Glaze,” this “Olive Glaze Pouring” seems darker in color. Is the other glaze an iron-based one?

Kodo Kiyooka: Yes. The iron glaze I used is called “Oni-ita,” and it creates these patterns. You can see it in these areas.

Hanada: Why did you decide to add iron glaze to the olive glaze?

Kodo Kiyooka: The clay used for the regular olive glaze and for the Olive Glaze Pouring is different. If I only applied the olive glaze on the clay used for Olive Glaze Pouring, it would feel a bit too soft. So I wanted to add some character to the surface.

Hanada: The back is interesting too.

Kodo Kiyooka: Each back has a different expression. Among the various iron glazes, Oni-ita is particularly interesting. I like this plate myself and use it often.

Kiyooka’s Oval Plates

Hanada: Next, this small oval plate (S). Is this also Olive Glaze Pouring?

Kodo Kiyooka: The glazing method is the same, but the firing is slightly different. For this one, the reduction is stronger and the temperature a bit lower.

Hanada: Is this rimless oval plate a recent design?

Kodo Kiyooka: Yes, since this year. I aimed to make an oval plate that could be used as a plate, so the surface is almost flat.

Hanada: It would be perfect for a one-plate breakfast too.

Kodo Kiyooka: Exactly.

Hanada: Oval shapes are almost limitless—you have proportions, roundness, slenderness, and so on. What kind of oval do you personally find appealing?

Kodo Kiyooka: I like ovals where the ends are gently tapered, but not sharply pointed. Since I usually make round shapes, having a contrast with these ovals makes them stand out.

Unique Qualities and Discoveries in Each Piece

Hanada: Next, the 6-inch flat bowl with ash-white kiln variation. The glaze flows beautifully toward the center, creating a mesmerizing effect.

Kodo Kiyooka: I’ve been making this for over five years.

Hanada: You must have tried various techniques to achieve this effect.

Kodo Kiyooka: Since I apply the glaze rather thickly, it’s prone to cracking. So after firing, I let it cool slowly.

Hanada: The flow varies with each piece, making each one unique.

Kodo Kiyooka: I don’t have a single ideal form in mind. Each piece has its own qualities and surprises. Some turn out greener, some whiter, some slightly pinkish—variety is part of the charm.

Hanada: Sometimes they sparkle beautifully. I really like that. Does this glaze flow better on pieces with some height or angles?

Kodo Kiyooka: Even flat plate-like pieces can be interesting. The glaze moves in various directions rather than in a straight line, which creates a different character.
Occasionally it swirls around, producing fascinating effects.

The User Decides How to Use Them

Hanada: When you make a piece, do you imagine what food might go in it?

Kodo Kiyooka: Not much. If I were the user, part of the enjoyment is figuring out how to use it, so I try not to impose too many of my own ideas on the pieces.

Hanada: So you’re careful not to take away that joy from the users while creating the pieces.

Kodo Kiyooka: My pieces aren’t necessarily easy to envision for a specific use. I think people enjoy imagining uses themselves when they choose my work among many others.

Familiar Yet Uncommon

Hanada: What do you focus on when making your pieces?

Kodo Kiyooka: I aim for simple shapes that are easy to use.

Hanada: Your work is simple and orthodox, yet not something you see everywhere. As you once mentioned, they feel “familiar yet uncommon.” I feel the same.

Kodo Kiyooka: That “familiar yet uncommon” quality is probably the most difficult to achieve.

Mug Cup Lips and Handles

Hanada: Next is this ash-white mug.

Kodo Kiyooka: This clay contains a high iron content. I chose a glaze that enhances the clay. If I used an iron glaze, the iron in the clay would be lost in a “black on black” effect.
I selected a glaze that allows the iron to show beautifully.

Hanada: Your mugs come in various shapes. What do you pay attention to when making mugs?

Kodo Kiyooka: The lip of the cup.

Hanada: It has a sharp, precise edge.

Kodo Kiyooka: Just before the lip, it slightly swells and then tapers sharply.

Hanada: So every mug has this lip shape.

Kodo Kiyooka: I like the way it feels—clean and precise.

Hanada: It delivers the drink directly and smoothly.

Kodo Kiyooka: Exactly. It just feels better that way.

Hanada: It must be great for drinking cold sake.

Kodo Kiyooka: I actually made it based on a customer’s request.

Hanada: How about the handles?

Kodo Kiyooka: I designed even the square-handle mugs for easy grip. Also, I try to give a place for the thumb to rest naturally.

Blue Grey-Ash Glaze and Kiln Variation

Hanada: Next is the blue-grey kiln variation rim bowl. The flow of the blue-grey glaze is beautiful as always. Is this the same glaze as the previous pieces?

Kodo Kiyooka: The only difference is whether the base has a white slip applied or not.

Hanada: The way the glaze accumulates where the bowl curves from center to rim is also a highlight. How about the shape?

Kodo Kiyooka: Not all, but many of my pieces tend to be shallow. I often use shallow bowls myself, so I think that influences my work.

Hanada： Overall, it feels like tableware has been becoming shallower these days. The shapes of vessels are influenced by living environments, family structures, and food culture at any given time. Thank you very much for sharing your thoughts. We look forward to the exhibition.

Kodo Kiyooka: Thank you very much. I look forward to it as well.

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