Katie Louise Ellis

My orca grant project was focused mainly on two areas: first, learning traditional Japanese pottery making techniques through primary experience on a trip to Japan studying with Kosei Tamaya, and second, observing the work of Japanese master potters at a number of national museums and galleries. As I did more research and preparation for my trip to Japan I realized that in addition to learning about traditional techniques, I had an even greater desire to experience the country that has inspired so many incredible ceramics artists and understand what cultural and region specific influences have impacted their work.

I traveled to Japan from August 17-29 , 2009. Unfortunately, on August 11th I received an email from Kosei Tamaya notifying me that he was unexpectedly traveling out of town during the time I would be in Japan. This was an issue since the majority of my trip was based around visiting Tamaya and semi-apprenticing with him for a few days. However, we did have some unexpected surprises on the trip that did make up for the disappointment and allow me access to one on one studio visits to a few ceramic artists.

I should also mention that the generosity of a few friends allowed my Japanese-speaking husband to travel with me for the project. He was able to serve as my guide and interpreter on the trip. His presence greatly changed the trip, as I was able to communicate with everyone we met.

The following is a brief overview of my ORCA project trip.

We began in Tokyo where we were able to visit the Meiji Shrine and observe the ceramic bowls used for offerings in front of shrine as well as traditional Japanese architecture. While in Tokyo, we also visited a tea ceremony and ikebana flower-arranging store that is over five generations old. We were able to interview the business owner, an 85-year-old woman who is a fifth generation ceramic art collector. We spoke with her about the progression of Japanese ceramics over the years. We also visited large department stores to see art shows they sponsor on the upper levels of the stores and to see their selection of tea bowls and other goods.

Next we traveled to Mashiko, a traditional pottery village, where we met Masahiko Yamaguchi. We visited his store, and after my husband began explaining to him what we were doing in Japan, Mr. Yamaguchi invited us into his home to see some of his ‘nicer’ things. He is a first generation potter, although he comes from a family of collectors. He grew up around clay since his father collected and sold Mashiko pottery. We were able to visit with him in his home for about an hour. The high light of our visit was when we began to share with us pottery made by Shoji Hamada! We were actually able to hold and handle objects that are typically only found behind glass at the top museums in the world. After we visited with Mr. Yamaguchi, we continued to visit the other stores that spanned the 2-mile town. Probably 90% of the shops were strictly ceramics.

Our third stop was in Kyoto. We had set up an appointment with a very successful gallery owner there. We met Umeda our first day in Kyoto and spent 2 or 3 hours talking with her as we toured her gallery (Utsuwakan) and spoke with her about each of the pieces. Umeda-san was able to look at some of my artwork and talk with me about the Jyuu movement and potter Koie Ryoji. Through her conversation, I quickly learned that my style and philosophy belonged to a Japanese movement. Umeda-san connected us with a few of the artists showing at her gallery.

Thanks to Umeda-san, we were able to visit Shigaraki and meet potter Kato Takahiko. Kato-san allowed us to visit his home and studio. We were able to talk with him, tour his three kilns, see his clay supply (a hill next to his house), and see examples of both his traditional Shigaraki-ware pottery and his contemporary sculptures. While in Shigaraki we also visited another one of Umeda-san’s contacts, a 30-year-old female sculptor working at the Shigaraki Ceramic Cultural center. We spoke with her about her training and her experience as a female artist in Japan. She showed us the under glaze and luster techniques she was using and also gave us a tour of her studio and facilities. We also visited the museum at the Shigaraki Cultural Park and saw everything from traditional 14th century Japanese ceramics to contemporary American ceramics.

Back in Kyoto, we also visited the Buddhist temple Ginkakuji, the Kiyomizu Buddhist temple, the pottery shops of Kiyomizu, Shimogamo Shrine, the bamboo forest, and Gosho (the imperial palace). We were also invited to dinner at the home of a Japanese family, which was a wonderful experience. We also visited the town of Nara (home of the sacred deer of Japan), as well as Osaka.

Overall, the trip was very beneficial. I was able to take hundreds of photographs of my observations, create sketches of works I am planning on creating, interview Japanese ceramic artists and gallery owners to learn about their inspirations, views, opinions, and methods, and experience a cultural unlike any I have ever studied. I was able to see and touch work by a national living treasure of Japan, tour traditional wood kilns, see work only available in Japanese galleries, and experience a culture that continues to influence amazing artwork. On return to BYU, I have been able to share my experiences with both upper lever and beginning ceramics students at BYU and speak about my trip to local elementary school students. I have not been able to put up a show reflecting on my experiences yet, but have begun creating work for the show that I am planning on creating in the next four months. My experience in Japan was enriching and has greatly informed my own practice as an artist. The things I learned will have a life-long influence on my artwork.