Hanada: What were your student days like?

Asami Maeda : Since my mother’s family had been master builders for generations, I went to a high school focused on architecture with the intention of pursuing that field. However, the coursework was completely different from what I had expected, which caught me off guard, and I left after just three months. After that, I attended an art school focused on practical skills, but deeply feeling my lack of knowledge, I went on to study philosophy at university and graduate school.

Hanada: How did you find studying philosophy?

Asami Maeda : I specialized in Plato and learned that philosophy is not about “knowing” things, but rather about “seeking wisdom.” It taught me that the desire to know is what truly matters. It was also a form of mental training. The expectations for graduate students were particularly high, to the point that I would feel like catching a cold and staying in bed on days I had to present (laughs). Having to read original texts in various languages—including English, German, and Latin—was quite demanding.

Hanada: And after graduation, you entered the tableware world.

Asami Maeda : While there was a path to become a researcher, my brother was taking pottery classes, and that led me to try out a pottery wheel just by chance. It was so much fun that I instantly thought, “This is what I want to do next!”

Hanada: You then did your training in Kyoto.

Asami Maeda : I learned truly so much there. Through the place where I trained, I was able to meet various tableware artists around the Kyoto area, and they taught me a wide range of techniques as well. Looking back now, I think I must have been quite a handful for them (laughs).

Hanada: (Laughs) Then you went independent. Did you already have a clear direction for the kind of work you wanted to create?

Asami Maeda : I had been working with slip trailing (icchin) from the very beginning.

Hanada: Do you look to anything specific for inspiration for your patterns?

Asami Maeda : Near Eastern art and artifacts serve as a great reference for patterns. I am also fond of Ko-Imari, Ko-Kutani, and white porcelain from the Joseon dynasty.

Hanada: Is there anything you particularly value when making your pieces?

Asami Maeda : Ease of use is a given, but I also try to ensure my work does not lean too far into mass-produced, everyday goods, which would defeat the purpose of making them by hand. I also believe that handcrafted items reflect various aspects of the maker’s life—like going to museums, watching movies, taking walks, or talking with friends. Because of this, I want to cherish every day and live mindfully.

Hanada: Your work has a wonderful elegance and presence.

Asami Maeda : I want my pieces to look beautiful on their own, not just when food is served in them, so I am quite conscious of creating a sense of elegance. Tableware is a lot like clothing; when the item itself is elegant, it uplifts your spirits, doesn’t it?

Hanada: Is there anything you would like to try in the future?

Asami Maeda : I would love to explore brush painting and heat-resistant tableware, and I also want to challenge myself with sculptural objects. I recently moved, and looking at the white walls of my new home has made me want to start painting pictures too (laughs).