“Look What I Just Made!”

Hanada: Mr. Yomiya, I hear you have recently been reconsidering your approach to your work.

Takashi Yomiya : Lately, I have just been making what I truly want to create and fire.

Hanada: Has the way you work changed as well?

Takashi Yomiya : I don’t overthink things as much as I used to, wondering if a square piece would sell better than a perfectly round one. You know how it goes. Besides, to truly compete with a perfectly round shape, your throwing skills on the wheel have to be exceptional. I think that until now, there were parts of my own round shapes that I wasn’t fully satisfied with.

Hanada: So both your shapes and your mindset have become simpler.

Takashi Yomiya : Yes, and throwing on the wheel is just plain fun right now. For instance, even with a mug, I can now achieve a comfortable weight and feel in the hand without relying on carving away material to reduce its mass. Appearance matters, of course, but the way a piece feels in your hands and against your lips is just as important. I feel like I am finally understanding the meaning of these things through actual experience, rather than just in theory.

Hanada: You are still making new discoveries.

Takashi Yomiya : I am here all year round. Aside from the changing seasons, nothing really changes, and I rarely see anyone. Honestly, I need some excitement in my life. When I was younger, going out for drinks with friends was fun, but it’s not quite like that anymore. So, I look for that excitement in my work. It’s not about changing my style to surprise others; it’s for myself. I even dream about it, thinking, “Wow, look what I just made!”

Hanada: That is a very positive outlook.

Takashi Yomiya : I just think, “Well, it came to me in a dream, so let’s give it a try.”

Hanada: A while ago, I came across a video of an acquaintance who does mathematical research. He was talking to high school students before their exams about how to learn and think. He said that constant success is nothing to boast about, and that never failing simply means you are only doing easy things. I smiled, thinking how typical that was of him. But he concluded by saying that humans aren’t tough enough to endure 100% failure either. While the balance between success and failure varies from person to person, you really need both.

Takashi Yomiya : That makes sense. Though in my case, I am not even sure what success really looks like to begin with.

Hanada: Fair point. In any case, being able to say, “Look what I just made!” must be the real joy of this kind of work.

Finding the Perfect Feel

Takashi Yomiya : These days, I also change my throwing technique quite often. It is hard to put into words, but it’s about holding my left hand at this specific angle, or doing it like this… (gesturing with his hands).

Hanada: It sounds like the kind of detail only you would notice.

Takashi Yomiya : Exactly. I don’t think anyone else would notice. But doing that makes it feel just right when you hold it.

Hanada: A perfect feel when you hold it…

Takashi Yomiya : I suppose you could call it balance, both in terms of how it looks and how it feels in the hand.

Hanada: So, the visual impression and the actual weight come together at just the right point.

Takashi Yomiya : Don’t you think people get an adrenaline rush when that happens?

Hanada: Absolutely, it really lifts your spirits.

Takashi Yomiya : I think the joy that pottery lovers feel is very close to that moment when you find a piece of clothing that fits you perfectly. For example, if you buy five T-shirts at a thrift shop and one of them turns out to be incredibly comfortable, you end up wearing that one all the time. That is exactly what tablewares are like.

Hanada: Wearing it makes you feel good, and even your posture and expressions brighten up.

Takashi Yomiya : It’s because it just fits. To go back to what we were saying, if it feels right, then a simple round shape is perfectly fine—provided it feels right, of course.

Looking Back Twenty Years

Hanada: It has been twenty years since you went independent. Do you ever find yourself looking back to those early days?

Takashi Yomiya : Looking back at my older work now, some pieces from ten or twenty years ago actually seem better. Ultimately, one’s range of expression is limited, and I have been repeating similar ideas from the start. As you get used to it, the work itself becomes more polished. Yet, sometimes the pieces made before I became technically proficient hold more charm.

Hanada: The pure dedication before everything became second nature?

Takashi Yomiya : Exactly. At first, I only had an electric kiln. Still, I would try all sorts of little tricks to make the pieces look as if they were fired in a wood-firing kiln. Those pieces can actually be more interesting.

Hanada: Working without knowing how things will turn out must have its own virtue.

Takashi Yomiya : Back then, I didn’t think about the future at all. I was completely focused on how to get a good firing right in that moment. I used to take reckless risks that would make me worry about breaking the electric kiln today. Now, I don’t have to do that because I can just use the climbing kiln.

Renovating an Old Folk House

Hanada: Looking back, you might call it the reckless dedication of twenty years ago, but it seems to me you are still taking risks and trying new things today. This renovation of an old folk house is a perfect example. I think what you are doing here is truly remarkable. Rebuilding from scratch would be much easier, and it isn’t even your own property. Yet, because you believe it is an important place for you, you do everything you can to preserve it. Seeing that determination and action shows me how deeply you care for your work in the truest sense.

Takashi Yomiya : Well, if making pottery was just about finding success to live in a grand house and drive a luxury car, this lifestyle would never work.

Hanada: If those were your primary desires, you probably wouldn’t have chosen pottery as a career in the first place.

Takashi Yomiya : Definitely not. Pottery is really not a lucrative business. Most potters have very little money when they start out on their own. Since you have to invest in equipment, you always start with debt. On top of that, I happened to come across this old house. Just as things were getting on track and I was starting to think about building a house overlooking the sea, my home was damaged by termites, and I suddenly had to move into this old folk house.

Hanada: It sounds like there will be plenty more adventures ahead.

Takashi Yomiya : Life never goes exactly as planned. I have finally realized that, and that is what making pottery means to me. After all, there is no way to get exactly what you expect out of a climbing kiln anyway. It is not a matter of having bad luck; it’s just the way it is. If I had built a nice house on a beautiful hill overlooking the sea, things might have become quite dull.

Hanada: If that happened, people often start saying, “The old days were better. The work has gotten boring. Is this really what I wanted to do?”

Takashi Yomiya : Exactly. Keeping this old folk house as my workshop and maintaining it gives me endless enjoyment. It presents one challenge after another, but I can channel those experiences back into my creations.

Hanada: Perhaps dealing with the challenges of this house helps you forget the hardships of your work. You seem to have found a unique balance, and this location in Amakusa suits your way of living perfectly.

Takashi Yomiya : Rather than me choosing it, I feel like Amakusa is the one making it happen for me.

Looking Ahead to the Solo Exhibition

Hanada: We are very much looking forward to the upcoming exhibition.

Takashi Yomiya : Since I am currently in the middle of shifting my style, the show will consist almost entirely of new pieces. I am right in the thick of exploring new directions, so in that sense, I hope people will enjoy seeing this creative breakthrough.

Hanada: It allows us to join you on this journey of trial and error.

Takashi Yomiya : I will still make pieces that people can add to their existing collections, of course. However, I would love for visitors to look at the work and wonder, “Why did he use this particular glaze on this item this time? What was his intention?” I am also using several different types of clay, as the choice of clay is essential.

Hanada: With new work, your creative intentions remain fresh and clearly visible in the pottery. We are truly looking forward to it. Thank you very much.

Takashi Yomiya : Thank you as well. I look forward to it.

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