Inside a 250-year-old Kyoto kiln, where glaze and sculptural form become vessels like objects of art

I generally place quite a lot of importance on relationships. good at getting along in human relationships or within groups I wasn't particularly good at it to begin with. Having become very interested in the concept of relationships I want to leave behind a work that can stand shoulder to shoulder with the greats of the past. I want my own world of expression to be recognized. There's no doubt about it. My father or grandfather was into ceramics. Originally, my father was supposed to become the 8th generation. It's due to its influence. I once actually worked as a regular salaryman. I started at the age of 28, so it was a bit late. It's a rather rare background, you know. I used to work as a bank employee, but I realized that working at the bank forever might not be the right path for me. When I had it, my parents were into ceramics. I wish I could somehow be involved. It feels like coming back. But at that time, I never even thought about becoming a writer. At first, it was rather about managing the family workshop back home. It was like they were thinking, "Maybe I'll do it," and came back. Just keep making it The stronger my desire to do it myself becomes It feels like it's continued up to the present. The feeling of wanting to bring what I'm doing in terms of form over here as well It's been feeling quite strong lately. As for mugs, cases, and things like that Quite blocky, in a way have become aware of it As for equipment and such things as well Something like a gravitational pull toward the center I want to create something like a focal point where people's eyes are drawn to. That's something I've been thinking about recently. I'm actually quite conscious of things like that. By incorporating factors such as the intensity of glaze reduction, Couldn't it be made a bit stronger or something like that? That's what I'm thinking. Basically, the appearance-wise aspect is still, after all I'm quite mindful of making it user-friendly and convenient. I don't want to ruin the bass as an instrument. something like how to express it under those constraints I think it's quite an interesting place. Something like just barely enough feels just right. I was being taught something, you know. I'm kind of really busy right now, you know. Not that I'd go so far as to say "a lot," but... Better than being slightly insufficient I tend to express myself in a strong manner quite often. But it also looks good enough to be featured in a dish, you know? I'm aiming, at least, for something like that. I am aware of the aspects I really want to focus on here. One is the intensity of the reduction in glaze. The other thing is that I place quite a bit of importance on a sense of solidity. Whether it's tableware or a work of art, it must stand alone as a complete piece. I really strongly feel like creating something that exudes presence. Things I value personally, for example Things you're interested in, and thoughts you're having Something that can be expressed most directly, or rather I think I'm coming across more solidly than I thought I was. Manufacturing things, you know Things like, "Back then, I was thinking something like this." When I looked back later There are also things like that, where someone says "I did it, I did it" like that. It's like everything about myself, even the parts I didn't expect to reveal about myself, all come out. The first thing I think about is who I want to be the main character. For example, sticking it on something like, what kind of form would be best to make the most of that place? It might be that there are a lot of things to consider. I sometimes draw a little picture at first, even with dishes and such. Especially when it comes to tableware, the fact that it's actually used inevitably comes into play. Under those constraints how much you can express what you want to convey I take it quite seriously. I generally place quite a lot of importance on relationships. Being good at getting along in human relationships or within a group I wasn't particularly good at it to begin with. I've become very interested in the concept of relationships That's why I went to a university where I could study psychology. Something like combining parts such as these There is a relationship among each of the parts. I'm aiming for it to stand as a complete work in itself. When it comes to standalone works like this Something like energy coming from within how it affects the outer layer of the skin I feel like I want to express myself. It's definitely a work of art, isn't it? I want to leave behind works that can stand alongside those of the great masters of the past. I've been going to my father's exhibitions and such since I was little. I get told things like "It's exciting to think about the future" at times like this. That itself is pressure. But perhaps the pressure was even greater before I started. I was more relaxed before I started doing ceramics. When I tried it, it was rather the case that The feeling that manufacturing is interesting gradually begins to change. There was pressure, but But I definitely have a desire for approval too, you know. There's no doubt that I want my own world of expression to be recognized. I was a bullied kid during my student days. I don't really have many experiences of success. I couldn't manage everything properly. Even when I was at the bank, I was scolded almost every single day, I mean That kind of thing exists. There was also a bit of a feeling when I started pottery, as if there was no turning back. There were indeed parts where I was quite reckless and just charging ahead. I've never been able to push myself this hard before. There are parts that have ended up feeling like there's no other option. I have another source of motivation as well. Isn't it something that's been passed down through our family for generations? Actually, everyone here is amazing. That kind of pressure also serves as quite a driving force, actually. Ultimately, I'll just smash the name in. My name is changing to Shizuku Rokubei. There were also periods when the pressure was quite intense. That is also one of the driving forces. The other factor, having worked at Shigarakiki as a regent, was also quite significant. That was the year before last. Honestly, it's not exactly a drainage situation, but... Look around and check the level of those around you here. When I thought I was done for I was thinking of completely giving up on sculptural works and switching careers. While dealing with various artists and engaging with them It's still a bit early to give up. I kind of get the feeling that, directionally speaking, it's not necessarily bad. Those two might be it, perhaps. In the sense of "initial," it was about making use of that early stage. It felt somewhat like half a deci, you know. That was also incredibly large, wasn't it? The master there has been promoting the classics. It was an incredibly significant turning point, wasn't it? I probably wouldn't have studied classics if you hadn't pushed it forward. I sometimes think that if it hadn't been for that, I might never have become a writer. The truth is, the outcome was absolutely disastrous. Maybe there was also a bit of compatibility on a personality level. Of course, I also like getting my hands dirty. I rather like thinking. I like to think about all sorts of things like "What should I do next? What should I do next?" When you post it on a classical platform, you can generally get a rough idea of people's reactions. This won't work out, I guess. Something needs to be done about it. That's why I can tell such things It hurts a lot at that moment, though. That way, you can think further ahead and consider what to do next. Something like half a warrior's training journey