Claygun

Terrart INterview

2013-10-11T10:32:00.001-07:00

Entrevista a Wali Hawes

Autor:

Jaume Molgó

Què et va dur al Japó, potser conèixer una altra realitat?
Des del primer moment de conèixer la ceràmica tenia interès en els forns i volia saber com construir un forn anagama. En aquella època, a Catalunya, poca gent sabia què era un forn anagama o què significava la paraula. Vaig anar a una trobada internacional a Tokoname, Japó, on hi havia la possibilitat de construir-ne un. La meva primera experiència va ser odiar Japó: tot el que feien em semblaven “xorrades”, volia agafar el primer avió i tornar a Catalunya. Sí que era una altra realitat, però després les coses van canviar i vaig donar la volta a la truita; era increïble com en aquell país es valorava la ceràmica i a Tokoname tractaven als ceramistes amb molt de respecte. Vaig llegir molt de l’escriptor Alan Watts sobre el Zen i potser això em va influir molt en la manera de percebre la realitat japonesa. La importància dels valors no-materials de l’Índia també van influir molt sobre la manera de sentir la cultura japonesa.

Quan vaig trobar la ceràmica, a finals dels anys ‘70 a Anglaterra, vivia i començava a estudiar ceràmica a la ciutat anglesa de Stoke-on-Trent, llavors vaig sentir un pes molt important de la influència japonesa. Era l’època dels “Punks” i en el meu curs gairebé tothom estava en contra de la influència Anglo-Oriental de Leach i Hamada. La seva filosofia va portar la ceràmica a un carreró sense sortida. Potser van ésser els seus deixebles els qui van crear aquesta situació.

Vaig llegir el llibre “A Potter’s Book” d’una marcada influència oriental, que em va portar a Espanya, perquè vaig trobar que, allò de que parlava Leach, estava dins de la ceràmica popular espanyola, si entens la filosofia Wabi-Sabi, Mingei i els matisos no-materials de la ceràmica.

Quants anys fa que hi vius a Japó? 18 anys. 10 anys a Tokoname i 8 a Komono-cho (Como no!!!) a la província de Mie.

És difícil integrar-se en la cultura oriental?
Sí! Els japonesos no són capaços d’acceptar els estrangers. Mai! Això no vol dir que no puguis viure-hi bé, vius en el teu món com un bitxo rar, saltant-te totes les normes i regles de la cultura (Déu n’hi do! la quantitat que n’hi ha) i no passa res, a més a més és molt divertit fer-ho. De totes maneres no crec que sigui possible parlar de la cultural oriental, és posar tots els ous en la mateixa cistella. La cultura de l’Índia és tan diferent de la cultura japonesa, com pot ésser la cultura catalana i la cultura lapona. És doncs difícil integrarse, si no impossible.

Què va representar per a tu el canvi de Catalunya a Japó?Serietat, puntualitat, els formalismes (res de “cachondeo”!), com funcionava tot a la perfecció, el comportament social de la gent, la falta d’egoïsme i sobretot el gran respecte que la cultura japonesa tenia per la ceràmica. Jo ho veia tot de color de rosa. El poble de Tokoname (50.000 habitants), uns dels sis Forns Antics del Japó, tenia més galeries de ceràmica que tot l’estat espanyol! Era més fàcil viure de la ceràmica a Japó que a Catalunya, encara que jo feia ceràmica de disseny que s’anomenava “Chichukai” (“Mediterrani” en japonès), però això volia dir que havia de treballar d’una manera com mai havia treballat (com un “xino” sense dies de descans!) però hi havia molts ceramistes estrangers que no vivien de la seva obra.

Què t’ha aportat personalment i especialment, en l’àmbit ceràmic, el fet de viure tots aquests anys a Japó?Que es pot trobar un univers ple d’harmonia i amor en un bol de ceràmica. Els sentits es troben en un àmbit de plena expansió, l’art de la ceràmica és molt personal i a l’abast de tothom. Els sentits arriben a un nivell molt alt. Que l’expressió surt del cor i no hi ha cap obsessió per trobar una acceptació artística. Un ceramista és un artista i la ceràmica és Art. És a dir una llibertat que aquí no trobava, aquí hi ha molta obsessió amb la perfecció i la perfecció no existeix. A Japó, en la ceràmica existeix una integració del treball i la vida. Però, desprès de molts anys a Japó vaig trobar que la ceràmica és de manera tan tancada i conservadora que no deixa entrar cap innovació, ni la possibilitat de discussió. Aquesta postura ha portat a la ceràmica japonesa a un cul de sac. Per a un artista és una situació insuportable.

Quines diferències essencials has vist entre la ceràmica d’occident i la d’orient?Una vegada Shoji Hamada estava visitant la facultat de ceràmica d’una universitat a EE.UU. i li van preguntar sobre la seva opinió de la ceràmica que allà feien. Va dir: Em sembla ceràmica
molt bona, però no ho es! És a dir: la ceràmica, a Japó, perquè sigui una obra d’art ha de sortir del cor, a occident surt del cap. Tot ha de tenir una raó, una explicació. És el silenci que parla volums i no cal dir res! La meva obra ha sabut trobar un pont entre els dos corrents de la ceràmica i a vegades he tingut sort, altres vegades no hi ha manera. Als japonesos és molt difícil d’ensenyar-los coses bones de la ceràmica mediterrània, no poden acceptar que l’Oribe té les seves arrels en la ceràmica d’Úbeda o que la baixa temperatura esta bé. Per comprovar el que estic dient només has de mirar i llegir els comentaris que fan sobre el Raku Japonès i el Raku Occidental!

Quina evolució ha experimentat l’art ceràmic des de la teva arribada al país, segons el teu punt de vista?Si parles de la meva obra personal, vaig enfocar-la més amb els detalls de l’obra i menys en l’impacte que podia tenir. La ceràmica utilitària és molt important. Es poden comparar els meus gots (guinomi) per al sake a Japó (expressió minimalista) i el “Forn Volador” a Catalunya (expressió col·laboradora i festiva). Els canvis a Japó?... doncs menys ceràmica sòbria i més ceràmica amb colors, amb més disseny, més alegria i més llibertat. La nota negativa és que a nivell institucional no s’ha vist cap canvi, sinó que segueix sent molt reaccionari a qualsevol innovació. Avui dia la ceràmica japonesa està passant una època molt dolenta.

Tu que voltes arreu del món, creus que la ceràmica catalana i espanyola és comparable a l’avantguarda d’altres països?
Bé. No crec que existeixi l’avantguarda, és un concepte desfasat. Si vols fer servir un concepte desfasat llavors sí, la ceràmica catalana i l’espanyola són comparables a la d’altres països. Per a mi, avui dia la ceràmica ha de ser una transformació de l’experiència viscuda. És una participació immediata en una vida apassionada on per moments som transigents.

Com veus el progrés de la nova generació de ceramistes catalans i espanyols?
No sé si realment puc fer un comentari. Sí, tècnicament són molt bons però també penso hi ha una gran pressió per seguir la moda, per poder guanyar un premi, exposar en una galeria de prestigi o sortir en els mitjans de comunicació. És clar, dir-ho és molt greu perquè sobreviure de la ceràmica és molt, molt difícil i no vull dir que el nivell sigui baix. S’han de fer coses per vendre. Potser és un problema cultural i social.

Creus que hi ha prou efervescència ceràmica en aquest moment amb les Fires, Concursos, Jornades, Cursos d’estiu, etc., que estan establerts a casa nostra?A les jornades sí. Molt, i a més a més és el camp on es pot desenvolupar la ceràmica del performance o que és efímera. Jo he tingut molta sort perquè aquí a Catalunya els cursos d’estiu et donen molta llibertat per crear i experimentar i això és el que falta per realment desenvolupar i entendre el llenguatge de l’expressió creativa. En altres llocs he trobat que no volen saber res perquè xoques amb les normes del que significa “ceràmica” o el que està establert. No puc comentar sobre els concursos, però a Japó tothom sap qui guanyarà abans de fallar, parlo en general i m’imagino que hi ha excepcions. Potser la tècnica té una importància desmesurada i això no porta en sí mateix a una expressió plàstica de creativitat sinó a una obsessió. Crec que en la ceràmica en general hi ha molta especialització.
Cadascú es converteix en un expert i res més. Això per a mi és no veure tot el que ens pot oferir el gran panorama de la ceràmica. Tant divertit és saber fer teules àrabs, com un Arbre de Foc, com fer bols per a l’arròs o peces úniques. Així crec que no hi ha prou efervescència, però la culpa no la tenen els ceramistes, sinó la situació en que ens trobem, respecte a la societat, en els últimes dies de vida del capitalisme.

Enllaços

www.walihawes.com

flyingkiln.spaces.live.com

claygun.blogspot.com

Terrart - Revista Ceràmica Contemporània nº35

Terrart-35-Entrevista-Wali-Hawes.pdf

Visions of Home-THE 1st HARINGEY FILM FESTIVAL

2013-10-03T12:08:00.001-07:00

VISIONS OF HOME is Haringey Film Group's first film festival and we're delighted to present to you a packed and varied programme guaranteed to keep you coming back for more. Included in the programme are film classics and rarely screened features and shorts. We hope you will be enlightened and entertained by the selection we're offering. The groups involved are:-
Haringey Independent Cinema
London International Labour Film Festival
Tottenham World Film Club
Feast on Film
Green on the Screen
Collage Arts
Haringey Womens Forum
Film Exposed
Screen Wood Green
Wildcat Arts Collective
Tottenham Friends of the Earth
Bruce Castle Museum
Films include:- Lovers on a Bridge, Leos Carax, 1991, France
Venue: Karamel Restaurant, 4 Coburg Road, Wood Green, London N22 6UJ
Admission: Free
Doors open at 6.30pm. Programme starts at 7pm

Round Trip-Shahar Rosen, 2003, Israel

Venue: Haringey Women’s Forum, Through the archway, 18a Edison Road, N8 8AE
Venue is step free access and there is an accessible toilet
Buses: 41, 91, W5, W7 (All stopping at the end of Edison Road, outside Marks & Spencer)
Admission: We don’t make a charge for coming along but ask for donations
Film starts at 7.30pm

Lesbians and bisexual women only....and this is just a start....more info here:-

http://www.haringeyfilmgroupfestival.org.uk/

13th of September 2013 at Gladstone Pottery Museum

2013-09-29T05:15:00.004-07:00

Gladstone 2013 Fired Up! Performance - Weaving original words from pottery workers, music film and dance this performance celebrates the Gladstone site and the pottery industry of Stoke-on-Trent. Hear the tale of the Gladstone China factory told by local artists in a drama played out in the cobbled courtyard.Friday 13 September 7.30pm.

Co Directed by Ray Johnson MBE (film) and Ellie Davies (Composer) from an original idea by Ellie Davies with a large cast including musicians actors dancers pupils from local schools and colleges and featuring the Potteries own soprano Denise Leigh.
ELLIE DAVIES is a young composer based in Stafford. She has had work performed at Shugborough Hall, Wedgwood Museum and Colchester Art Gallery as well as having had a piece workshopped by BBC National Orchestra of Wales.
On 7TH September there will be a SINGING WORKSHOP at Bridge Arts Centre Stoke on Trent 1.30- 3.30pm Singers needed to workshop some original songs written for the Fired up! performance. Sight reading ability will help but not essential as we want a “raw” sound. We will record the songs ready for the performance on 13 September.

Well!
What troupers the Fired up team turned out to be!
Despite the awful weather and the disappointment that it was too wet to fire the Firehand without damage to the decoration, well over 160 people turned out to share this unique experience and enjoyed it.
Every single person involved refused to let their spirit and energy be dampened and gave their all.
Thank you so much.
Here are some comments I have had:

"Well done all of you, it was superb. I heard the word amazing more than once as the audience moved around. I was marvelling at what it must have taken to get so many performers, including so many children, to learn all that - so slick. Huge congratulations to all the performers."

"Wouldn't have missed it for anything.""Amazing. Thank you for letting us be a part of this fab production. "
" I hope you can all be very proud of what you achieved this evening - yes, it was a shame about the weather, but everyone I spoke to was delighted with the event, and though you know what didn't go to plan, I'm sure very few people would have noticed any errors - it was a great evening, enjoyed by all!"
"I loved working with you and being part of this project. We were like a family!"
I have had lots of verbal comments about how much people enjoyed it too.

However for me the huge achievement was the coming together of so many diverse groups of all ages from all over Stoke (and London, Wolverhampton, Turkey!) to work together on something positive and celebratory. That's what it was all about - and we still have the firing and the film premiere to look forward to!
Dates in diaries please- 30 October at Stoke Film theatre and 7 November at Spode as part of the BCB festival.So big pats on the back and thanks all round - you were all amazing.
Link to Facebook here:-
https://www.facebook.com/Gd2013
and here:-
https://www.facebook.com/media/set/?set=a.633997553288269.1073741835.484615278226498&type=1
and here:-
https://www.facebook.com/photo.php?v=532928383444360&comment_id=4296509

Maybe

2013-08-18T03:52:00.000-07:00

There was once an old potter who lived in the Odaka Highlands in Mie-ken. One day during a firing a typhoon hit the area and no matter what he did or how hard he tried there was no way he felt he could get to temperature. What with the heavy rain the kiln shed soon got flooded. Some neighbours heard about it and came 'round to see what they could do. They all chorused "Ah, such bad luck!". The old potter replied "Maybe!"

A few days later when the kiln had cooled down the potter started to unpack the ware. He found, much to his surprise some really beautiful pieces near the area where the kiln had been flooded. Nobody had seen anything like it before. All the neighbours soon heard about it and came round to see the work. They were all in agreement and exclaimed "Such amazing pots. Such beautiful work!" And the potter replied....

"Maybe!"

I Eat Clay

2013-08-14T06:14:00.001-07:00

I much prefer open firings to electric kilns....

not to say that they don't have their uses.......

but then again I'd rather settle for a doner at te local

"Nasruddin" who have a wood-burning oven. They use

ashes to mellow the lamb....apparently it gives it a real rich

colour that highlights the pattern of Iznik Designs.

All of a sudden the word "Hello" flashes before my

eyes out of the blue.........The reduction fired

tenmokus brought out the worst in him.

He turned to poetry to dampen his ardour.

As the silver gilts the glow
in the cups depths contrite
when all the drips and crackles
keep giving me a fright
the iron effects give light
in a starlit night
The clink is a thud
on the rim
very dim
I chew my cud

Take it or Leave it

2013-08-13T02:58:00.000-07:00

TAKE IT OR LEAVE IT

As artists we have a voice.

Maybe it's a political voice or a poetic voice.

It can be a musical voice, an inner secret voice or a global voice.

It is a voice that believes in what we are and what we can do.

Take it or leave it.

It is a voice that expresses our feelings through the work that we produce.

This voice is unique to each one of us.

Our creations are expressions of our concerns and beliefs, our fears, or our deepest hopes.

They represent a personal journey through life that uses a universal language.

Art.

Take it or Leave it.

The artists are encouraged to develop their work in any medium. This includes installation, sculpture, painting, film, photography and much more. Their creations explore the incredible possibility of what our artistic voices can say to others. They celebrate the diversity of the many ways that creativity and artistry can be revealed to those who view them. Take them or leave them, they are all an incredible experience.

artenoguerra@me.com

www.mnoguera.com

www.artenoguerra.com

My Cup

2013-08-09T05:30:00.002-07:00

The word "rain" doesn't make you wet
The "cup" won't be used for drinking and
The "bowl" is only seen.

My Cup
It sits on a mottled ground formed under intense heat and pressure
It sits in the presence of formal structures of societal definitions in a sphere only peopled by men
Between 50-85
Grey coated, drab and with little or no pretensions other than the fact that we have enough for the next round
And that doesn't inspire me in the least
Space has become a temporal thing
I must call Hideoshi or Barbara

Mang'ART in Marratxí-Mallorca

2013-08-07T03:09:00.000-07:00

Creatividad basada en la gastronomía

La semana pasada, un grupo de diez alumnos, participó en el monográfico ‘MangArt’ impartido por Wali Hawes, un curso en el que se ha trabajado la funcionalidad y el diseño de artículos de cerámica para la mesa y en el que se sigue la máxima de que “la pieza no está terminada hasta que se haya servido comida dentro”.

Por ello, el sábado 20 de julio, el último día del curso, y con un buen número de piezas elaboradas, los alumnos de Hawes compartieron un banquete variado servido en sus originales platos, vasos, cuencos y fuentes. Dando por concluida entonces esta acción formativa dirigida a artistas, diseñadores y cocineros en la que se ha trabajado la estética del menaje a través de técnicas japonesas y estilos mediterráneos.

El descubrimiento de Pòrtol

El propio Walli Hawes, hindú que creció en Londres, que estudió cerámica en Cataluña y ha puesto en práctica sus conocimientos en Japón, declara haberse empapado de lasinfluencias creativas y estéticas de Oriente y Occidente.

Como una buena receta, con variedad de ingredientes y sabores, Hawes dice tener un gran éxito en el país nipón con sus creaciones dado que aportan la luz y el color mediterráneo en su estética y respetan las formas y las técnicas japonesas.

Sobre Pòrtol, este ceramista que domina a la perfección la lengua catalana, confiesa que “ha sido un verdadero descubrimiento y me ha inspirado mucho. No sabía que este pueblo tuviera tanta tradición cerámica, con su museo y su ruta del fang…” y revela que ha visto en las ollerías “hornos impresionantes”, hornos que no había visto antes.

El ceramista invitado a estos cursos de verano en s’Escorxador vaticina además que “si los japoneses supieran la historia y tradición de este pueblo…, sin duda vendrían a conocerlo”.

En cuanto al curso que ha impartido en esta localidad, la ‘terra del fang’, Hawes expresa su agradecimiento por la buena organización de la escuela y destaca “el buen nivel de los alumnos”. Además, aclara que “han surgido cosas que no estaban previstas” y define como “un buen terreno de cultivo a nivel creativo y conceptual”.

http://www.diariodemarratxi.com/exito-de-participacion-en-los-cursos-de-verano-de-la-escola-de-ceramica-de-marratxi/

´Considero que cada alimento debe tener su propio utensilio´

Wali Harwes es un ciudadano indio que se dedica a la investigación sobre la elaboración de la cerámica y sus peculiaridades

08.08.2013 | 06:30

El especialista en técnicas ceramistas ante algunas piezas de su creación.

Miquel Bosch. Marratxí La escuela de cerámica de Marratxí, ha organizado un curso monográfico bajo el título de Mange Art. Ha sido impartido por el ceramista de nacionalidad india y residente en Inglaterra Wali Harwes. Vive allí desde el año 1980 aunque durante diez años residió en Catalunya. Es un hombre tan interesante que con Wali se puede hablar horas de sus planes y objetivos, entre ellos el de adaptar la comida mediterránea al Japón, un tributo al clima y paisaje de este mar

„¿En qué ha consistido este curso?
„El curso que ha tenido una duración de treinta horas, con asistencia de alumnos de Valencia. Ha consistido en la creación de piezas de cerámica para los distintos condimentos, ya que el arte es de dominio privado y está en nuestras casas.
„¿Qué trabajos se han realizado?
„Los alumnos ha efectuado sus propios diseños en la decoración de las piezas, hemos utilizado pinceles. También hemos desarrollado una técnica propia, consistente en introducir un hilo en el colorante y ejecutar el dibujo de la pieza.
„¿Para qué tipo de comida se han elaborado las piezas?
„Yo considero que cada comida debe tener su propio utensilio; así hemos modelado y decorado cuencos para el gazpacho; piezas para el queso; bandejas para servir el pan; e incluso para los pinchos morunos. El último día de curso celebramos una comida donde utilizamos todos estos utensilios.
„¿Existe alguna pieza de cerámica que tenga unas características especiales?
„Sí, hemos elaborado un vaso mediante una técnica japonesa que permite ver el grado de pureza del vino; es conocido como ojo de serpiente. Se trata de que en el mismo vaso se introduce un dibujo en el fondo. Se llena el con vino u otro licor, que evidentemente debe ser transparente, y cuanto mejor se puede ver el dibujo del fondo menos impurezas contiene el vino o licor.
„¿Es la primera vez que viene a Pòrtol?
„Sí, para mí era un lugar totalmente desconocido, y me he llevado una grata impresión del potencial ceramista que existe en el pueblo.
He visitado las alfarerías, con sus hornos, y me han impresionado. Es para potenciarlo y dar a conocer todo su saber a nivel turístico.
Si los japoneses, que están interesados en el arte, lo descubren a buen seguro que será una visita obligada. Tanto el Museu del fang como las alfarerías; es para potenciar las visitas.
„¿Y cómo ha ido el curso?
„Muy bien, tanto a nivel participativo como de interés. Han participado diez alumnos, los cuales se han mostrado muy interesados en el curso y han captado y desarrollado los conceptos del mismo. Además de la amistad que se ha creado, prueba de ello es que han realizado un auca con el nombre de El tritó, una fàbula portolana.

http://www.diariodemallorca.es/part-forana/2013/08/08/considero-alimento-debe-propio-utensilio/866129.html

Ceramic and Pottery Workshops and Demonstrations

2013-07-07T05:32:00.000-07:00

Doing demonstrations and giving workhops forms an integral part of one's life as a potter especially if one has become a "ronin". It allows one to explore other areas of creative expression and also to put one's ideas to the test in a direct and inter-active way. It breaks with the gallery circuit and the egoistic pursuits associated with studio work and the importance given to market and institutionalized led forces that pervade the profession and which is subservient to the Hello Kitty Syndrome so cherished by busy bodies. Demonstrating "Raku" to the Japanese gave me alot of satisfaction.

So too being given the freedom to explore process as in this case in Portugal..................................

or to being able to explore such areas of contemporary ceramic art practice such as "Language and the Ceramic Process" in which "Breasts" forms our source of inspiration.

and that one can be at such historic places as Mashiko...........................................................................

The Fire Tree

2013-07-02T12:31:00.000-07:00

"L'Arbre du Voyageur" Le Prix d'Argille awarded by UNESCO

THE ceramist Claude Berlie-Caillat can look forward with optimism how the Regional Centre for the Fire Arts in Reunion, for which he has been working for over twenty years has established itself. He can testify to the liveliness of the arts in Reunion, due to the enthusiasm of many ceramic artists from around the world. Last month, his participation in the 4th International Film Festival on ceramics, with director Gérard Louis Kraz, co-author of the short film "L'Arbre du Voyageur", depicting an artist residency at Art South, was honoured with two awards including Le Prix d'Argille, awarded by UNESCO, which recognizes "the exchanges between peoples through the medium of earth and fire."

This is the second time that Art Sud, led by Claude Berlie-Caillat, tireless bearer of the fire of Manapany, at the International Festival of Films on ceramics has won an award. Already winning in 2000 with "Thieves of Fire", a short film by Lois Mussard co-produced by RFO, Art Sud competed this year with another short film, shot during an artist residency between mid-December 2001 and January 2002 by Gerard Louis Kraz (Capricorn Films, 2003).

Selected from more than 150 films, "L'Arbre du Voyageur" was screened at the Palais des Congrès de Montpellier, before the jury chaired by the ceramist Roger Capron and cheered by the audience. The film is about the encounter between the ceramic Berlie-Claude Caillat, Atsuko Ito Japanese and Indian Wali Hawes and several students from Spain, France and Reunion all "playing with fire" and creating a concept by Wali Hawes, based on bottle ovens which are both a receptacle for fire and sculptural work of art in itself, on exhibition since 2002 at Manapany.

Grafted onto the oven collective epic, the adventure film has captured the struggle with the materials and the earnestness of an approach that combines ideas mixing and blending with materials. Wali Hawes has created many Fire Trees around the world, which are all unique. However the Fire Trees of La Reunion incorporates ground basalt and olivine ... He braved the weather and kept his integrity "with the quality of the soil used here," said Claude-Berlie Caillat.

"The jury Montpellier, comprising 80% of professional ceramists worldwide, was surprised by the novelty of the concept and the quality of the clay and basalt, a material rarely used, which is increasingly interesting ceramists "he adds.

The film has attracted representatives of Brazilian and Canadian television, as well as the Arte channel. Director and his co-authors have initiated a dialogue with RFO and Antenne Réunion for broadcast in Reunion as wide as possible. Circuits of Education and the University, as well as audio-visual Department of Fine Arts may also contribute to its diffusion.

David Pascale

History of The Paper Kiln

2013-06-21T03:42:00.000-07:00

The Paper Kiln was first developed by the Swiss Ceramic Artist Aline Favre.
She based her idea on a traditional technique that was used in Switzerland to smoke cheese and meats. Which was to create an environment with paper and slurry which would allow a slow burning fire to produce smoke that gave the products suspended inside a smokey flavour. The Catalan Ceramic Artist Fina Casaus demonstrated the Paper Kiln during a workshop called "Taller de Tardor" and organized by the Catalan Potters Association in Corça in 1987. That is where I learnt the technique.......Since then I have applied this technique to create "Le Four Mobile" ( a mobile kiln made from a shopping trolley) also The Flying Kiln and Car Kiln made from a real car......I have also developed the technique to create "Mangagama" which is made from Japanese comic books......There is no limit to the scale of the Paper Kiln and it has also developed into the idea that sheets of newspaper are rolled up then used to wrap around pieces.

Strictly speaking a paper kiln is nothing more than that in the sense that the kiln wall is made from paper and slurry. However, I have noted its quality in adding coherence to any sort of impermanent, one-off type of kiln or firing and has also been adapted for traditional wood-fired kilns when after bricking up the door it is then covered with layers of paper dipped in slurry.

In the example, which was demonstrated in "All Fired Up" in Mashiko, Japan, a metal frame work covered in wire mesh is then covered over with several layers of paper and slurry. I usually tend to use magazines as the paper is stronger and can hold the slurry whereas newspaper tends to disintegrate...it is useful for applying as a dry coat over the slurry before a new layer is added on. So there you have it.

On Thatcherism

2013-04-24T09:13:00.001-07:00

When WW2 ended the idea was to make capitalism acceptable to the people. Thus the goal of full employment, freer economic bargaining power of the unions, the NHS, the Welfare State, nationalization, council housing, greater equality in education that was free and general rising of living standards for the working class. With this came a spirit of liberty founded on security where there was more hope and inspiration and a diversity of creative possibilities.

With the arrival of Thatcher-ism the idea was to make the people acceptable to capitalism. The goal became private profits above all else. The unions were smashed, industries and industrial communities were destroyed, the public wealth sold off for a pittance to privatize-rs council housing sold off and decimated: a full scale impoverishment of the working class ensued and unemployment became something of a regular thing and all creativity, if not all endeavor, beyond making money was declared valueless.

Thatcherism also engendered a crass ignorance where sometimes the expression of art and culture became an incomprehensible adjunct to corporate greed and exclusive snobbery that only money could buy.

When tomorrow's historians look back on Mrs Thatcher, she may not get the fame and celebrity she hungered for. She may get mention however, sitting between her good friends the second-rate actor who ruled the USA and the butcher who ruled Chile in the days of the neo-cons, neo-liberalism and neo-fascism.

R.D.Warren

Tea Bowl Stories VII

2013-04-24T08:58:00.001-07:00

A monk told Joshu......"I have just entered the monastry. Please teach me"
Joshu asked "Have you had your tea?"
The monk replied "Yes, I have thanks!"
Joshu said "Then you had better wash the Tea Bowl!"

Note: Do not mistake the bell for a cat's head!

My Son from Jerry Ward in Vietnam

2013-03-03T11:20:00.000-08:00

Went to My Son the other day , it's the remains of the Cham people's major temple complex, about 50 k,s awayfrom Hoi An , dates from 400Ad to about 1400 AD. It's the longest continually occupied temple complex in SEAsia. The Chams occupied Central VN before being driven out by the Viets from the north, they had an Indianised culture rather like the Khymer with Angkor Wat , but much smaller and was falling into ruins untill the French rediscovered it in the19 th century, then the good ol yanks bombed the shift out of it later . Typical !! They built every thing out of clay bricks and had an unique resin made out of some plant to stick everything together. The Chams still exist , now mostly to the south of Nha Trang and have adopted or created their own version of Islam . There are temples all the way south from here to about 100 k,s north of Saigon . Helps reinforce the fact that the west is actually pretty primitive compared to most other advanced cultures , not much more than hunter gatherers, and very warlike to boot .

The Gladstone Pottery Museum

2013-02-22T11:01:00.002-08:00

Gladstone Pottery Museum needs your votes to win funding & the support of a contemporary artist as part of the Museums at Night scheme...

Gladstone Pottery Museum
Needs YOU!

Gladstone Pottery Museum have progressed to the final round of a prestigious art funding competition where museums compete to win funding and the support of a contemporary artist to put on a special event as part of the Museums at Night scheme.

The museum is thrilled to announce that they have been chosen to go through to a public vote for the chance to work with Julian Wilde, an artist who is famous for his sculptures which are seen as three dimensional drawings and often use plastic plumbers tubing in their construction.

Gladstone would like to use his skills to build a glow in the dark plastic tubing bottle oven in the courtyard at Gladst one, with visitors to the museum helping to construct what would be the first new bottle oven in nearly 100 years.

To help turn these plans into reality Gladstone must beat three other museums and art galleries in a public vote which opens on Tuesday 19 February at 11am and closes on Tuesday 5 March at 5pm.

Voting is simple and is done online at museumsatnight.org.uk.

Click on "The Connect10 Vote: You choose where Julian Wild goes for Museums at Night 2013" and choose Gladstone Pottery Museum from the list!

A museum spokesperson said ‘We are very pleased to have got this far in the Connect 10 competition and would really like to see this adventurous and fun event happen. Please vote for Glads tone in the public vote so we can build a bottle oven sculpture with our visitors.’

Interview

2013-02-18T13:37:00.001-08:00

Autor:

Jaume Molgó

Quants anys fa que hi vius a Japó? 18 anys. 10 anys a Tokoname i 8 a Komono-cho (Como no!!!) a la província de Mie.

Kiln Building in Spain

2013-02-10T06:39:00.001-08:00

Workshop on the Construction and Firing of a Downdraught Wood-Fired Kiln
Theory and practice in the firing of Wood Fired Kilns

Workshop lasts six days in which a 1cu m Down-draught Wood fired kiln will be constructed. Theoretical constructs and its application to Wood Firing
Workshop led Wali Hawes, a potter who has never bought a kiln but has always built his own, has published articles in numerous magazines and led workshops, given conferences and built kilns all over the world.
The workshop will be held in an estate in Pelahustan, in the province of Toledo, Spain in an area noted for its natural beauty and charm (A one hours drive from Madrid or Toledo - Spain)

PRACTICAL INFO
Workshop dates Mon 11th till Sat 16th de March 2013

Course fee: 400 €
Which includes tuiton, materials and full board.

Contact
Wladimir Vivas
Telf : +(34) 639 222 340

wladimir@infoceramica.com

Ultra-Violet Wilderness at the Knight Webb Gallery

2013-01-26T11:49:00.000-08:00

On the 26th Jan at The Knight Webb Gallery in Brixton an Ultra-Violet Wilderness Painting event was held which invited you to take up a brush and contribute to a 12 metre mural. The idea of this bold experiment was to build on the community spirit of the artists in Brixton and Camberwell so that something spontaneous, beautiful and surprising could be created. I turned up quite bright and early only to find that not only was everything prepared but some paintings had already been done. I decided on trying to incorporate what I had in mind with an image which has already been painted. It consisted of two spheres on a dappled ground with light blue fluorescent paint. It wasn't long before the gallery was filled and we were all at it slaving away over hot brushes in the glow of the fluorescent lights. Some amazing work was done.Music was also provided which led to a very harmonious atmosphere being created.

All credit to Rufus for making this an amazing event and giving artists from many different disciplines a chance to interact in an ambience of freedom and creativity. The mural will be on display till the 5th Feb. I did have some problems with trying to harmonize what I had in mind with what had gone on before as I chose to explore more geometric patterns. I was able to overcome this by exploring form in terms of light. Naturally it is best viewed at night for the full effect. Further information can be found by visiting the web page:-
http://www.knightwebbgallery.com/

Anthony Gormley at White Cube

2013-01-24T12:17:00.001-08:00

The blurb to the exhibition "Model" of Gormley's latest offerings at White Cube had this to say......................
"Made in direct response to the space is the vast new work Model. Fabricated from 100 tonnes of sheet steel, the work is both sculptural and building, human in form but at no point visible as a total figure".....bla bla bla........I was very impressed by Gormley when he started out and made the figurative once more an essential part of sculpture. What I didn't expect was such crap.....what a waste of time and it only goes to show what happens when one sells out and end up becoming part of an icon that is a marketable entity that says absolutely nothing. So if the place was a laboratory of possibility showing te ways in which ideas cross fertilize and produce vigorous hybrids then GM take a cue from this.....and you can come away feeling thoroughy sick.

Potter Humour

2013-01-22T14:03:00.000-08:00

I am not impressed! Baka!

This potter walks into his doctor's surgery. He has a casserole on his head, a teapot stuck up his nose and a vase in his left ear. He says to the doctor, "Doctor I think I have a problem". The doctor looking at him says, "Yes, I can see you're a bit potty!"

An Irish potter was given an order to throw a few mugs. He returned the next day in a stretcher all black and blue. The neighbours all gathered round and said "But Murphy what the devil happened to you?"
Murhpy in a great deal of pain said "Well, I was given an order to throw a few mugs but bthey got angry and fought back!"

Potter in a bit of a state due to the crisis gets a job in a circus as a Flying Cannonball. The next day he was fired!

Why are woodfirers always happy? Because the have a good sense of humo!!!!!!
Get it? "Humo in Spanish means smoke!!!!!!!

Kumano-san's Cabin

2013-01-18T12:55:00.004-08:00

There I was bent over a hot brush struggling hard to get work decorated in time to do a firing tomorrow when a small Jeep drives into the yard. Well, if it isn`t Kumano-san. Kumano-san is a retired PE teacher from Komono and has a cabin up in the hills not far from us. He is quite partial to lifting the elbow and several times over the course of the year we have been at his cabin in order to quaff and exchange banter. Well, this time an old pal from Sendai was visiting and he was wondering if perhaps we could pop `round for a bit of a sup. Always ready to oblige I promised him that once I had finished decorating the pieces needed for the firing I would most definitely drop by. It must have been about pm and it was already quite dark when I set out small torch in hand and a couple of bottles of beer in a small cloth bag. By the time I got to about halfway-just before the path started uphill I had an urgent need to answer a call of nature. Wearing some traditional style Indian trousers which were tied at the waist meant I needed both hands to do the needful. I had switched off the torch wishing to enjoy my stroll in the moonlight that bathed down. As I was halfway through I noticed a dark shadow approach me. Ah, That must be the dog who lives up in the hills and I often see running about!. I retie my trousers and by this time the `dog` has got quite close. I switch on the torch to give it a welcome. You can imagine my fright when it turned out to be a wild boar. I don`t know who was shocked more because we both bolted-but in the same direction, but seeing he had four feet he made off in next to no time leaving me standing. Naturally at Kumano`s cabin quite a few victuals were imbibed in order to calm my nerves! What was a luxury was to be served venison from deer that are found in the hills. It isn`t the first time. Once we dined on venison that was from a deer that fell into Yoshida-san`s Fishing Pond. It must have been an oji-san because it was tough! I don`t know if I am that fond of venison and to think it was often served on the table of Liege`s in the old days and if found poaching you would often pay with your life. Other titbits includes freshwater sashimi with freshly grated wasabi (none of this tube stuff!). Various licors included beer, nihon-shu-from Komono, Johnnie Walker Blue Label and a home-made brew laced with "sansho"-A bit cloying for my taste. On the way back it was great to see a firefly beeping about. And remember that Confucius he say "Girl who accepts invitation for snack in man`s apartment gets Tit Bit!."

Pissing People Off

2013-01-01T06:30:00.004-08:00

Dear Sir:
I am writing to thank you for bouncing my cheque with which I endeavoured to pay my plumber last month. By my calculations, three nanoseconds must have elapsed between his presenting the cheque and the arrival in my account of the funds needed to honour it.. I refer, of course, to the automatic monthly deposit of my entire pension, an arrangement which, I admit, has been in place for only eight years. You are to be commended for seizing that brief window of opportunity, and also for debiting my account £30 by way of penalty for the inconvenience caused to your bank. My thankfulness springs from the manner in which this incident has caused me to rethink my errant financial ways. I noticed that whereas I personally answer your telephone calls and letters, --- when I try to contact you, I am confronted by the impersonal, overcharging, pre-recorded, faceless entity which your bank has become.From now on, I, like you, choose only to deal with a flesh-and-blood person.My mortgage and loan repayments will therefore and hereafter no longer be automatic, but will arrive at your bank, by cheque, addressed personally and confidentially to an employee at your bank whom you must nominate.Be aware that it is an OFFENSE under the Postal Act for any other person to open such an envelope.Please find attached an Application Contact which I require your chosen employee to complete.I am sorry it runs to eight pages, but in order that I know as much about him or her as your bank knows about me, there is no alternative.

Please note that all copies of his or her medical history must be countersigned by a Notary Public figure, and the mandatory details of his/her financial situation (income, debts, assets and liabilities) must be accompanied by documented proof.

In due course, at MY convenience, I will issue your employee with a PIN number which he/she must quote in dealings with me.

I regret that it cannot be shorter than 28 digits but, again, I have modelled it on the number of button presses required of me to access my account balance on your phone bank service.As they say, imitation is the sincerest form of flattery.Let me level the playing field even further.When you call me, press buttons as follows:
IMMEDIATELY AFTER DIALLING, PRESS THE STAR (*) BUTTON FOR ENGLISH

#1. To make an appointment to see me

#2. To query a missing payment.

#3. To transfer the call to my living room in case I am there.

#4 To transfer the call to my bedroom in case I am sleeping.

#5. To transfer the call to my toilet in case I am attending to nature.

#6. To transfer the call to my mobile phone if I am not at home.

#7. To leave a message on my computer, a password to access my computer is required.

Password will be communicated to you at a later date to that Authorized Contact mentioned earlier.

#8. To return to the main menu and to listen to options 1 to 9

#9. To make a general complaint or inquiry.

The contact will then be put on hold, pending the attention of my automated answering service.

While this may, on occasion, involve a lengthy wait, uplifting music will play for the duration of the call.Regrettably, but again following your example, I must also levy an establishment fee to cover the setting up of this new arrangement.May I wish you a happy, if ever so slightly less prosperous New Year?

Your Humble Client

And remember: Don't make old people mad. We don't like being old in the first place, so it doesn't take much to piss us off.

Flame and Water Pots 4wot?

2012-12-31T10:10:00.000-08:00

"Oh Yeah!"
Object in Focus, Flame and Water Pots-Prehistoric Ceramic Art from Japan was the theme of a display at the British Museum which goes on till the 20th Jan. What was on display were three amazing pieces...vessels in concept, ritual in design, useful in practice. It is well established that the Jomon people produced some of the oldest pottery in the world. The pots on display we are told are between 5,000 and 7,000 years old....why that makes me a spring chicken and all this mania in being up2date.....? We are told that Jo-mon means "cord-marked"....how unimaginative...and what about form?....or firing technique for that matter. We were invited to explore the imagery and symbolism on te pots but the best bit was that when the Jomon people got together they did so with the intention of getting pissed out of one's tiny little mind in order to ensure group solidarity and ensure a better communication with the gods.
Well there you go! Pity I missed the talk by Simon Kanner and Prof Taniguchi Yasuhiro.........

Haque-Hackney Writers Magazine

2012-12-30T06:32:00.001-08:00

"Haque" is a the first anthologhy of writings from member of the Hackney and East London Writers' Circle. In the introduction by Mike Harth, who edited this first edition, "The magazine and its contents, ranging through an account of a family Christmas and its aftermath, sci-fi, social satire,fantasy, internal monologue, comedy and naturalistic vignettes as well as a number of short poems, reflect something of the diversity of the group."
As contibutor and member of Hackney Writers I was impressed by the creative level and really enjoyed the content. My favorite was "DIY" by Christian Arrowsmith though "In a State" by Joel Kosminsky was equally enjoyable.....which is not to say the other contributions weren't as good...rather my preferences reflect my state of being at the moment I preferred to read them. Well done Hackney Writers.....and I am looking forward to the launch. Since being a member the group has come a long way from meeting in a squat to rooms in pubs and members' flats. I hope that this publication will see the recognition of the group within the literary fraternity in Hackney and East London. Well done Mike for all the hard work and everybody else especially Kathleen, Liz and Christian who made this possibility into reality.
Contributors were:-Kathleen Bryson, Steven Rimkus, Joel Kosminsky, Christian Arrowsmith, Liz Barnes, Mike Harth, Steven Rimkus, Edward Sayeed and David Medway. The cover design was by Liz Fitzsimon.

Haque Magazine Launch:- We are celebrating its launch at Pogo Cafe, 76 Clarence Rd, Hackney E5 8HB, webpage:-pogocafe.co.uk, and would love you to join us on 30th Jan from 7pm. Food and drink will be available.

There will be readings from the magazine, ranging through an account of a family Christmas ("Merry Istmas") and its aftermath ("One Last Bauble") to science- fiction ("Time Encounters"), social satire ("In A State"), fantasy ("The Parcel"), internal monologue ("D I Y"), comedy ("Rich and Famous") and naturalistic
vignettes ("Brilliant" and "Aunty Bunty"), as well as a number of short poems, reflecting something of the diversity of Hackney & East London Writers' Circle.

Images and more info here:-
http://hackneywriters.org/

Thanks,

Hackney and East London Writing Circle

Tea Bowl Stories VI

2012-12-20T12:58:00.000-08:00

I am indebted to KUSAOMI KURODA who published an interview with Japanese potter SAJIRO TANAKA in Japanese Ceramics......I feel the need to pass this on it is a comment on Ido Tea Bowls:-

Ido tea bowls are foremost healthy looking and bright. There's also a kind of melancholy to them and they stand upright like warriors. The clay is rough and has a depth to it, and when holding one in your hands, it has a special feel to it. Certainly it is a tea bowl for a man of high position.
1. The shape
2. Molding the shape by rotating the potter's wheel only 2 1/2 to 4 1/2 times.
3. Use of Kairagi(plum tree bark) glaze
4. A Take-no-fushi-kodai (bamboo joint shaped foot rim)
5. Tokin ( a peak shape on the underside of the footrim)
These five critera are always faithfully adhered to. The aesthetics of this tea bowl are completely in a class of its own. Even after 400 years, no one disagrees that this is the "king" in the world of tea ceremony.The old Korean tea bowls have many stunning surprises. First of all, the beauty of their shape, the choice of clay, the way the clay is made, and why a certain glaze is used on a certain clay. The process I go through from the making of clay to its firing comes from accumulated experience and based on the principles they discovered. The ceramic techniques of the potters at that time, the Japanese master potters who went to Korea, and the Japanese who underwent instruction for these ceramic techniques, especially the merchants of Sakai city had a background of 400 years of Korean tea bowl making behind them. This was the highest level of tea bowl making. Moreover, tea ceremony ware was among the highest prizes given by the leaders Nobunaga and Hideyoshi and so the highest artistic levels were demanded. Like swords, land, and status, the Korean tea bowls were an important part of the social order in the Momoyama Period.
The full inerview can be found here:-
http://www.netlaputa.ne.jp/~namazu/artist/interview01/touch.html