In anticipation of the two-person exhibition “Contemporary Iroe and Slipware: Hanako Kusaka × Yoji Yamada,” starting on April 20, 2016, we spoke with ceramic artist Yoji Yamada. His encounters with ceramics, his time in England, and his discovery of slipware— and now, his pursuit of new challenges in ceramics. Yamada’s journey continues.

The Beginning of a Journey with Ceramics

Hanada: When did you first become involved in making things?

Yoji Yamada: My parents loved Shigaraki ware, so my first experience was touching clay during a pottery workshop in Shigaraki when I was in elementary school.
But in high school, I was fascinated by chemistry because my teacher was such an interesting person. He used to say things like, “Everything in the world can be explained through chemistry.”
I admired that, and it made me feel like I could find answers to things I hadn’t understood before.
So, I entered a science and engineering faculty at university. However, once I began studying chemistry seriously, it turned out to be quite different from what I had imagined. (laughs)
It was really just about material properties—too physical.
In hindsight, I think I was looking for something more spiritual. Since I’d always had some interest in pottery, I decided to take a year off in my third year of university to attend a training program in Shigaraki for future ceramic successors.
When I touched clay again, the feeling from my childhood came back instantly—it really surprised me. That year became a major turning point for me. After graduating, I worked for two years at a pottery in Shigaraki.

Hanada: You went to England to study ceramics after that, right?

Yoji Yamada: Yes. I had admired British fashion and punk culture since I was a teenager and had always dreamed of going there— but it wasn’t because of British ceramics! (laughs)
After leaving the pottery, I started saving money to go to England.
I worked at an ice cream factory, a udon factory, and a yakitori restaurant— several part-time jobs at once.
It took about a year and a half, and eventually I went to Maze Hill Pottery in Greenwich, London— a place known for its view over the city.

Hanada: Did you already know your teacher, Lisa Hammond?

Yoji Yamada: No, I didn’t. I got her email address through an acquaintance and contacted her directly.

Hanada: That took courage!

Yoji Yamada: I figured if I asked to be her apprentice right away, I’d just be turned down, so I tried to let her get to know me little by little.

Hanada: (laughs) That makes sense.

Yoji Yamada: I actually went to England to meet her in person. But my English was terrible—I could barely communicate.
Before meeting, I would write down what I wanted to say and bring it with me.
So I could express myself, but I had no idea what Lisa was saying! (laughs)
Even so, she accepted me, which I’m still grateful for.

Hanada: You must have noticed many differences between Japan and England.

Yoji Yamada: Yes, quite a few. In Japan, the relationship between teacher and apprentice is very hierarchical, but in England, it felt more equal.
If you consulted your teacher, they would listen, and they were open to suggestions too.
Also, I realized that many overseas potters have deep respect for Japanese ceramics— much more than people in Japan might imagine. Japanese potters should feel proud of that.
Especially those in the UK doing unglazed ware—they’re openly aiming for the Six Ancient Kilns of Japan!
In that sense, they’re more straightforward about it than we are.
And the clay is different too.
For high-fire ware especially, Japan’s clay is much better, I think.

Encountering Slipware:
“This is what I want to make!”

Hanada: Slipware has recently attracted attention among younger generations. Lisa’s work isn’t slipware, though. How did you first encounter it?

Yoji Yamada: I think it was after I returned to university from my year in Shigaraki.
As a science student, I often stayed overnight in the lab for experiments, and there was a lot of waiting time.
One day I came across a poster online for a slipware exhibition held at the Osaka Museum of Folk Art in 2003.
It was a shock—I instantly felt, “This is what I want to make!”
I went straight to the museum. It’s hard to explain, but the pieces felt big in spirit—generous and open.

Hanada: You could say they have a sense of embrace. Are there any particular slipware pieces you’re especially fond of?

Yoji Yamada: The most iconic one would be the piece held by Muneyoshi Yanagi in that famous photo (at the Japan Folk Crafts Museum).

Hanada: The contrast between the vertical and horizontal lines is wonderful.

Yoji Yamada: And this one here (pointing at a striped pattern in the photo).
I love how it’s slightly distorted. It looks like it was drawn from the right, starting neatly but gradually shifting off balance—that’s what makes it so appealing.
The rounded inside feels nice too. And I like this one as well (pointing at the triple-patterned piece).

Hanada: That rhythmic pattern of three is distinctive.

Yoji Yamada: Yes, all three have a beautiful glaze tone—soft and lustrous. Since materials are different now, it’s difficult to recreate old techniques exactly using today’s Japanese clays.
We need to find new ways.
What I want to achieve isn’t just reproducing the surface look, but expressing the atmosphere and texture of those works.

Hanada: Slipware itself has a strong character. Within that, how do you see your own originality?

Yoji Yamada: I’m not trying to imitate old works, and I’m not a genius. I’d rather learn from the past and gradually build my own ceramics.

Hanada: Is there any technical aspect you particularly value in your work?

Yoji Yamada: Three things: glaze tone, rhythm, and the softness of the clay.

That quiet presence that seems to speak
when you live with it—
that’s what I want to express.

Hanada: What kind of slipware are you aiming for in the future?

Yoji Yamada: I want to express the feeling of slipware without actually using slip decoration.

Hanada: What do you mean?

Yoji Yamada: I believe even unglazed ware can carry the same atmosphere as slipware.

Hanada: What does that atmosphere mean to you?

Yoji Yamada: I think slipware has a raw, almost sensual side— different from the lightness of many contemporary pieces.

Hanada: Is that something you sense from old works?

Yoji Yamada: Yes, from old slipware pieces I have at home.
At first, I collected them as references, but once I brought them home, they started to “speak.”
You can’t feel that just by seeing them in a museum— it’s something that emerges when you live with them for a while.
That’s the feeling I want to express in my own work.

Hanada: Perhaps it’s something found in objects that have been cherished and survived through time. I think your balance between exploring the old and adapting to modern life is very healthy. Now, for the upcoming exhibition in April, you’ve made a variety of new pieces.

Yoji Yamada: Please take a look at some of the larger pieces, even though they may not be suitable for everyday use.
Some were made purely out of creative impulse, so they might not be very practical—but I’d like people to see them anyway.
You don’t have to buy them, just come and take a look! (laughs)

Hanada: Those are often the pieces that touch people most deeply.

Yoji Yamada: If that’s the case, I’m truly happy.

Hanada: Thank you, and we look forward to your exhibition.

Exhibition: “Contemporary Iroe and Slipware”
Dates: April 20 (Wed) – 30 (Sat), 2016, 10:30am – 7:00pm
*Open every day during the exhibition period.

Photo:
Left: Yoji Yamada — front to back: Handle Mug / diameter 7.5 × height 8.5 cm (without handle), Jug (M) / diameter 10 × height 18 cm (without handle)
Right: Hanako Kusaka — front to back: Sandersonia small bowl / diameter 11 × height 5.5 cm, Sandersonia deep bowl / diameter 17 × height 19 cm

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