Kazu's new oblong platter were stunning on the table!!
Catering by NUHMA TUAZON New York.
That was a reception in mid town New York.
Kazu's new oblong platter were stunning on the table!!
Catering by NUHMA TUAZON New York.
Utsuwa Shoken, SANNGA Project, and Sara Japanese Pottery Present
the disciple of the earth
~ EARTH-UTSUWA~ Ceramic Exhibition
at Sara Japanese Pottery
October 12th to 14th 2017
Artist reception 12th 6pm to 8pm
sara japanese potteryとsannga projectにて行います。
小野哲平展 CRAY-UTSUWA @sara japanese pottery
小野哲平展 CRAY-KATAMARI @sannga project
SANNGA project 山崎ナナ
Eisuke's Choice 2017
~ Hanada's 150 ~
September 14th to 16th 2017
Opening reception : 14th 6pm to 8pm
Handling more than 300 artists that associate with his ceramics store, Hanada picks 150 pieces.
It's the 41st year that the Tokyo-based Hanada Pottery
will select 150 pieces of pottery that are just about "use".
Takashi Yomiya, Kazuhiko Kudo, Yoshinori Izumi, Yutaka Hanaoka, and more
a collection showing the true strength and achievement that makes Japan proud.
With the distinction of having over 40 year history in Tokyo,
Utsuwa Hanada's second generation president, Eisuke Matsui,
introduces to New York the works of his favorite ceramic artists!
On a beautiful Saturday morning, I drove to Milford, Pennsylvania to fire RAKU. The town of Milford is very quaint and pretty and not very far from New York City. The weather was perfect, sunny and cool.
Once our group gathered and had our coffee and breakfast to sustain us, we began preparing and glazing our pieces to get them ready. There were six of us firing together, helping each other. It is definitely more fun this way! We also had to be very careful since we had to get really close to heat and fire. We wore goggles, leather aprons, long gloves and hats. Safety first!
During the two days of firing, we had many curious visitors - rabbits, bees and even a deer, wondering what we were doing. Between the firings, we also took time for scrumptious potluck lunches.
I had a such wonderful experience this weekend, in the company of great people and artists. We worked together and had so much fun. After two days of firing, we all had dirt under our fingernails and smoke in our pores. Tired and happy. Until next time!
- Katie Yang
How's it your summer going?
Sara Japanese Pottery will closed on July 2nd , 3rd and 4th this year.
See you on 5th from 10am.
Malcolm Wright Ceramic Exhibition ~ A Potter's Lifetime ~ is still going on at SANNGA@ DAIICHI ARTS 18 E 64th Street until June 30th.
For more information sannga.com
I will write you a short form biography, but please ask any questions you have.
You can also look at my web site:
go to: portfolio/ then biography also awards, /blanden museum, /bridge of fire, /articles by, /articles about.
Also to: news & events, /the kiln, /glaze formula.
There is a lot of information there, maybe too much.
Here is a short form history.
My aunt Ann Wright Meerkerk was a potter in the 40’s at the Jane St. Pottery in NYC, so I grew up knowing about pottery.
My very first teacher was Betty Gilson in Wethersfield VT from 1960-62 one afternoon each week while in College.
In the fall of 1962 I apprenticed to Jack O’Leary, Meriden NH.
Married Marj in Dec 1962, and started Art School at the Corcoran School of Art in January 1963.
Teruo Hara from Kyoto came to teach at the Corcoran that summer and he became an important teacher for me.
My MFA was from George Washington University, Washington DC in 1967..
Takashi Nakazato came to Washington DC in the spring of 1967, and friends at the Freer Gallery brought him to my studio to see him work. I introduced him to Hara-san and others, but we were getting ready to leave for VT and Japan. I had a degree in history of Japanese Pottery and making including Japanese Glazes. There were so few books available then, we moved to Karatsu in October of ’67, to learn more. In Kyoto we studied language 3 days each week and I worked in a studio at Gojo Zaka to learn pottery and men's language. We moved to Karatsu in late fall ’68 to study with the Nakazato family and stayed until June 1970. Hanako Nakazato was a high school and college student in the 1990’s and she became an extra child in our family. She worked in my studio from late 1999 to 2005, 5 years in all, finding her own way.
Why did I want to study pottery? That is very hard to explain in today’s thinking 55 years later. There were many areas that I was not interested in, but Art was a principal interest. I was interested in Abstract Expressionist Painting. I knew several Conscientious Objectors from WW2 who were potters and had a life style that I honored, of life and work being closely connected. I liked the plasticity of glass, but I wanted to touch it, so I tried clay. The plasticity of clay is very wonderful to explore.
The pre-Japan pots show my interest in plasticity, drawing, and color. I was also interested in food, so the possibility of combining pottery with food presentation, Karatsu Pottery was pretty natural for me. I was interested in reshaping thrown forms, and in efficient hand throwing of pottery forms. I was interested in wood, straw, and coal ash glazes before going to Japan. For example, coal ash and fern ash glazes are closely related, as is straw ash and flax ash. I like Japanese traditions, and think of looking for freedom within tradition. There are so many elements to pottery, a little bit of chemistry in clay and glaze, physics in combustion, craft in throwing, art in form and color, clay is the canvas for presenting food, even the sociology in people from how they fire pots to the food they eat.
Marj has not edited this yet, but it is a start.
I looked at your writing, and there are some small changes I will suggest in a separate note.
Thanks for all your interest.
~ Malcolm Wright
"Sea of Good Fortune"
Tiny SQ Plate
2" SQ 1" Height
Hand Painted Porcelain Plates
from Kyoto, Japan
Brim Shape Tiny Plate
2.5" x 2" 1"Height
Each one has a unique story
"Whatever will be, will be"
"Law of Universal Gravitation"
"Octopus is blowing good fortune"
"Vest is Best"
"Crane & Pine"
"Red gates & Mt.Fuji"
Thank you for coming to our opening reception! ~ A Potter's Lifetime ~ Malcolm Wright Ceramic Exhibition
Thank you for coming to our reception on June 15th 2017.
That was wonderful to see you all.
We had a great time.
April 30th, Sunday.
I left my house early in the morning to see Malcolm. I picked up Nana-san, president of Yamma, a Japanese clothing company, and we took the three hour trip. Passing through the stunning spring parkway, we arrived at Malcolm Wright's home a little after 10AM as planned. Marji, Malcolm's wife, came out to greet us, delighted, it had been a long while since we last met. I introduced Nana-san, and we went straight to the studio.
The pieces unglazed and re-fired with some white slip and glaze that he'd shown us last year were interesting. There were also several pieces carefully numbered for testing.
We were there to see the full collection of Malcolm Wright pieces in his main room.
His work was divided into periods: Pre-Japan, made in Japan, and post-Japan, and we viewed them in order.
There were many pieces that were expressive of Karastu appearance, decoration, foot, and texture that is so beautifully displayed in a subtle manner.
Malcolm, now 78 years old, and Marji, his wife, have decided to retire and move farther north, still thinking of the fun and excitement of the future. To us, we're sad hear this, but it's a decision they've made and there's nothing we can do to stop them.
A considerable volume of work in his house and studio, by the end of the summer it must all go. It's the reason for us coming to see his works for a full collection show.
Pre-Japan, made in Japan, and post-Japan works, any and all of them are magnificent. Each period has its own character and are unmistakably a work by Malcolm Wright. In supporting his works over a long time, we are deeply moved.
While dining over Marji's homemade meal, we heard many stories - Washington times, Kyoto days, his Karatu apprenticeship - many things we've never heard before.
Please be informed, in June, we'll be showing each period of the great ceramicist, Malcolm Wright's, works - his lifetime - to all of our guests.
マルコム ライト スタジオ訪問
ヤンマ産業の 社長 ナナさんを駅でピックアップして 約3時間のドライブ。
今回の目的である マルコム ライト集大成の作品を母屋で拝見。
ザ ブロードウエイ モール アソシエーションのちょうど３０周年記念にあたる今年、我らがジョイブラウンが選ばれて、今年１１月まで設置される。
コネチカット、ケントのモリソンギャラリーのオーナー ウイリアム モリソン氏の力により実現したこのパブリック アート エキシビション。
The Ushio Studio duo, Fujiko Enami and Ushio Konishi, this married couple is recognized internationally as one of the leading artists in Venetian glass.
They worked under Jim Holmes at the Chatham Glass Company in Cape Cod, outside of Boston, Massachusetts. In 1989, they returned to Miura city, a coastal town in Japan, and established Ushio Studio. From then on, their work has spread brilliantly with multiple exhibitions within Japan and internationally.
Merely incidental the fact that Fujiko specializes in Murrini glass and Ushio in Lace glass, working this way day-by-day they have successfully established themselves worldwide.
I spoke a great deal with Ushio last March during their exhibition at New York Sara Japanese Pottery. What impressed me most was when I asked how he and his wife, both artists and working side-by-side,How do they handle disagreements. He told me, clearly and without hesitation, "I made a resolution to support Fujiko throughout my lifetime and career". As an artist, Ushio must put himself first. However, these words reflected his respect for his wife, his commitment to her, and his deep love for her which is what became acute. When the studio was being built, the height of the furnace and table were made to her measurements.
The process to make Murrini glass starts by making the beads, lining them up with tweezers, rolling them into one piece, and blowing air to shape the form. It is as if this substance that goes through a chemical reaction and crystallizes into a detailed pattern is the transcended form of the two artists love for one another.
This year there will be many beautiful works from them.
Without hesitation, you must come see.
Kazu Oba His Ceramic Vessels and Sculptures
April 6th to 8th 2017
Opening reception April 6th 6pm to 8pm
Kazu is coming home to New York.
He is also bringing his sculptures that have been his heart's desire for some time.
The Kazu that met Takashi Nakazato and trained in karatsu was originally a sculptor.
Studying under Jerry Wingren in Boulder, Colorado, he'd spend all his time carving wood and chiseling stone.
His nature has two faces, can you see his multi-nature habits through his works? Vessel and sculpture are tied closely together like his objective of eating delicious food and spending day and night cooking.
Our friendship has lasted many years, seemingly uncomplicated and simple, however, complex and mysterious.
He's straight with himself, but people around him get wound up in his imagination and ideas. Now returned, he's the quiet after the storm, relief.
Exhibition dates are April 6th, 7th, and 8th.
Not to miss this chance to experience his person.
March 1st 2017 one night only exhibition
Opening reception March 1st 6pm to 8pm
Lana Kova, "Cocoons",
February 6th, 2017.
I heard Lana finished the firing for her new series, "Cocoons", and went to her studio in Tribeca.
Against the black wall by the windows, there were three white sculptures. The pieces were one size smaller compared to the time I saw them before they were fired.The dimensions are like nothing I've seen before. The entire piece is covered in infinite carvings that flow together then move apart like a school of tiny fish suddenly changing course of direction.The slight of each carving changes and shows a different flow.As a group, their individuality appears stronger. Lana is starting to make larger works. The March 1st opening will show us.
2017年、２月６日。Lanaの新しいシリーズ "Cocoons" の焼成が終わったというのを聞き、トライベッカの彼女のスタジオに足を運んだ。 窓際の黒い壁の前に３つの白い彫刻が置いてあった。 製作途中を見た時よりは焼成によって一回り小さくなったが、かつてない大きさの作品だ。 無数の削られたあとが、流れのように繋がって、離れて、小魚の群れの急激な方向転換のように作品全体に現れている。 作品ごとに彫りの大きさが微妙に違い、流れの違いを感じる。それがグルーピングした時に、 より個性的にお互いを引き立てている。 より大きい作品を製作し始めたLana。 ３月１日のオープニングには、大きな作品を見ることが出来そうだ。
Kazu Oba 2016
Somewhat like a clumsy juggler, Kazuhito Oba expresses his personal style to entertain people.
One year since his last show in November, Kazu returns to New York.
This past June, his show at Tokyo's Hanada Pottery was a success; I heard his unique character was alive and well.
Now he's back in his studio in Boulder, Colorado, and making pottery for next month's New York show.
Using clay he ordered from Japan, I hear he's also making pieces that can be used on the stove.
Perhaps we'll see a small ceramic pot with a wooden handle he carved, or a pot to make Japanese hot pot.
He'll bring pieces he made in Denmark, brought to Japan, and will now come to New York.
He'll also bring pieces he made in Gifu, Japan using the Hananoki kiln.
He also wants to show pieces that are influenced by the Kamakura style. There is even raku-ware.
As usual, variety and volume bubbles forth from this one artist.
Serious and equally comical.
In a crunch, but entirely at ease.
A clumsy juggler that welcomes all.
I look forward to it.
Originally from Kanagawa prefecture, Kazuhiko Kudo chose to be based out of Asahi-kawa in Hokkaido because of the soil called, Kenbuchi clay. Never used for ceramics, this clay is roughly 200 million years old, and about 45,000 years ago it came to Japan through Siberia. It became a question of how this clay can be used, and as a result of five years work, the utterly original yellow kohiki was developed. As its name implies, it is the kohiki technique with traces of yellow, however, like the land in Hokkaido, there is strength in the material. This past year, he built a wood-fire kiln. From that vast serene nature grows a powerfully strong, deep, and dynamic expression.
Goldfish in a spoon
神奈川県出身。 上海の大学を卒業、帰国後東京でジュエリーデザインの仕事に就く。 ２０１５年、渡米。 New Yorkでジュエリーデザイナー新倉憲明氏に出会う。彼の物作りの考え方に感銘を受け、一点物の制作を始める。アンティークのカトラリーを見つけた友梨は、ジュエリーメイキングの技術を応用して、それらに自らのデザインを施していく。 一つ一つ丁寧に自分の思いを込めて作り進め、作品に命を吹き込んでいく。
Born and raised in Kanagawa prefecture, Japan. After graduating from college in Shanghai, China, Yuri returned to Japan to work in jewelry design. In 2015, she came to New York, where she met a New York-based jewelry designer Noriaki Niikura. Deeply impressed by Niikura’s creative philosophy, Yuri, by applying jewelry-making techniques, began making her signature openwork tableware pieces using antique cutleries. One-by-one, carefully progressing and infusing it with her thoughts, she completes a one-of-a-kind item.
Shin Murata, Kan Kishino, Takashi Yomiya, Kazuhiko Kudo and Yuichi Yukinoura
September 15th to 17th 2016
at Sara Japanese Pottery
Opening reception :
Sep. 15th 6pm to 8pm
Hanada, ceramics for one's home. Needless to say, they are a premier ceramics shop in Japan. Near the Nippon Budokan, their history goes back 40 years at Kudan Sakaue.
The founder, Nobuyoshi Matsui, developed a friendship with Masako Shirasu, who taught Nobuyoshi about pottery. Now, the company is entrusted to the young second generation president, Eisuke. He came to know about Sara Japanese Pottery through carrying works by Kaz Oba. His interest grew, and Eisuke came to New York to visit our store. This was the spring of last year. Soon after, we would frequently exchange email.
This time, in April, I went to visit Hanada. In a beautiful location, a refined and coherent display, the second floor gallery space had modern renovations hosting frequent exhibitions. Ten years my junior, Eisuke and I got along since the time he came to New York. This time in Japan was no different. We shared stories and had a great time.
In September, our first collaboration at New York Sara Japanese Pottery to be titled, "Eisuke's Choice", a curated exhibition introducing artists to New York. The best of independent and unique ceramicists will gather together. It's guaranteed to be an incredible show. We look forward to it.
More details to come.
Sara Japanese Potteryでも長く扱わせていただいてる大庭一仁の作品を扱い始める事になったのをきっかけに、興味を持ってくださり、何とNew Yorkの店まで足を運んで下さいました。それが、去年の春のこと。
9月には、コラボレーションの第一弾として、New YorkのSara Japanese Potteryの店舗で「英輔好み」と題して、店主の選ぶ作家達をNew Yorkに紹介する展覧会を開催する運びとなりました。選りすぐりの個性派陶芸家達を集めた、面白いショーになること請け合いです。乞うご期待。
Julie Terestman's New York
I was born and raised in NY on the upper west side in the 60’s and 70’s. It was a very different world then- edgier. I was very ready to leave to go to school, and be somewhere else- someplace safer and greener- so I first went to Vermont to study religion and found pottery instead. It was beautiful up there. No doubt it would be different now, but back then I felt like a fish out of water- very Jewish, very gay and very neurotic.
Over the years I lived in a couple of other places, Boston and Michigan, while I was in school. There was always a quality of things not feeling quite real, like I didn’t really fit or was on a different frequency- the anxiety frequency. Returning to the city felt like such relief- coming home. Funny because here people often think I’m from somewhere else.
Here the energy of just walking down the street holds me, interests me- in a way I don’t experience anywhere else. And more than being outdoors, I’ve always loved being inside, and New York has a wealth of amazing inside spaces- apartments, museums, churches, stores, parks, my studio the zendo- this is where I feel most comfortable, where my mind feels freer. Growing up, I spent a lot of time inside places with interesting objects, objects that allowed my mind to wander. This is how I first discovered the magical power of an object to transform one’s reality
And then of course there’s the diversity of people….and food…
Katie Yang's New York
When my father brought us to New York City on a diplomatic assignment in 1984, I was 14 years old, too young to understand his resolve in wanting his children to grow up here. All I cared about at the time was having to leave my friends behind and not speaking a word of English.
As I adapted to and thrived in my new environment, I acquired a cosmopolitan worldview imbued with possibilities and began to appreciate his motivation. While I can only speculate about the road not taken, I believe that I would have neither become a corporate attorney nor traveled widely had he not chosen to bring us to New York.
I never told my father how much I appreciated him for bringing me here. When I decided to quit my legal career to make art, I visited his grave to tell him. I think he would have been happy for me and proud of the person I have become.
Lana Kova's New York
I came to NY for the first time almost 10 years ago. I was a fashion model doing runways and photoshoots and every time I would come here for just a month or two months. But It felt like
I spend three or six months. New York always impressed me with it's energy and intensity. You feel people doing things, running somewhere, meeting, creating. It gives me a push to go further and do more but also to explore. In New York you can wonder into practically any culture and any professional field. You can easily meet people, find courses to pick up a new skill, find a community to embrace it. I felt right the way that nowhere else I have an opportunity for personal growth like in New York. Also nowhere else I can find such openness of people to new things.
There is a lot of competition but also lots of passion.
I didn't move to live in New York right the way. Modeling kept me traveling. After living in Berlin,Hamburg, London, Paris and Milan, in New York I feel most at home. It's an international city and I am an international person. Other cultures fascinate me, getting to know them broadens my way of thinking, and I want to belong to them somehow, to learn from them. In New York I can do it in its great museums, theaters and on the street.
Years of modeling taught me design and made me look at things as a surface and form. In fashion I am an object that is being designed. My skin , my shape is being enveloped. I think that made me aware of textures and surfaces of objects I create. The sensation you have of touch and look. I think of my ceramic glazes as of fabrics.
Specializing in fine Japanese Pottery and Tableware. Featuring artists from Japan and the U.S.
* As we renewed our website and blog on Feb.21st 2015, please visit the link as below for the older posts. http://sarajapanesepottery.blogspot.com/
It contains our activity between 2010-2015. Jan.
Sara Japanese Pottery
950 Lexington Ave. New York, NY 10021
( Bet. 69th & 70th St.)
email@example.com (212) 772-3243
Hours: Mon. ~ Fri. 10 ~ 7
Saturday 12 ~6
Closed on Sunday (open 7 days a week in December)
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