hagiwara - Pucker Gallery

22
YOSHINORI
HAGIWARA
Nocturne in
Black & Persimmon
Pucker Gallery
Boston
22
Large Platter
Kaki glaze
4 ¼ x 17 ¼ x 17 ¼″
YH2
3
Lidded Bowl
Kaki glaze
4 x 12 ¼ x 12 ¼″
YH115
YOSHINORI
HAGIWARA
Nocturne in Black & Persimmon
Yoshinori Hagiwar a is an unusual cer a m ic artist.
logue, Ken Matsuzaki suggests that this beauty results mainly from firing
Born as the fifth generation of a potting family in the town of Mashiko,
the pieces in a wood-burning climbing kiln and using local materials such as
Japan, Hagiwara springs from origins rooted in straightforward, utilitarian
Ashinuma stone and wood ash. However, it is Hagiwara’s unique combina-
ceramic production, the type of solid, everyday utensils that attracted the
tion of inventiveness and experience that makes him able to calculate how
Mingei Movement co-founder and Living National Treasure Shoji Hamada
his glaze formulations and method of application will successfully create a
to the village. However, Hagiwara is not content to simply carry on the
striking effect on a particular piece. Although Shoji Hamada was a master
family business in the manner of his predecessors.
of this, there are plenty of Hamada pieces that one might judge to be less
Looking at Hagiwara’s pieces, one senses a vision – or many visions,
than fully effective when evaluated from a strictly visual standpoint. For his
rather – of ceramics that can be, rather than are. It is very uncommon to
part, Hagiwara, working in an admittedly far more limited range, achieves a
find a studio potter in Japan who works predominantly in the reddish-iron
surprisingly high level of quality across the range of his works.
kaki (persimmon) and black iron glazes. It is also unusual to find a pot-
When I first encountered Hagiwara’s pieces in a Mashiko gallery last
ter who is so successful in discovering and creating so many variations in
year, I was intrigued by the delicate nature of his work – somehow belying
stoneware using such a limited palette. For an artist based in a strong Ma-
both his Mashiko roots and the functional shapes of the pieces themselves.
shiko tradition, Hagiwara’s ceramics represent a type of enigma. They are
It was only after looking at the potter’s background that a possible explana-
at once sleek and sophisticated; yet many of them hearken back to the
tion began to emerge. Hagiwara’s family has lived in Mashiko for more than
atmosphere of works made in the distant past by forgotten potters of Eu-
a hundred years – but before that, his ancestors made ceramics in Kyoto’s
rope or Asia.
Gojozaka district near the Kiyomizu Temple. Could it be that a long-hidden
It is exciting to see Hagiwara’s success in bringing forth the incredible
inborn aesthetic sensibility of graceful Kyoto ceramics re-emerged after
richness of the persimmon/black glazes, and delightful to observe how he
five generations to manifest itself in ceramics like we see in this catalogue?
harmonizes his patterns in sync with their subtle permutations. So many of
I am far from the only person who sees Yoshinori Hagiwara’s ceram-
his works are sheer poetry (I particularly like YH7, YH49, YH89, YH104,
ics as extraordinary. Ken Matsuzaki, now one of Japan’s most acclaimed
and YH109), it is difficult to find one that is not appealing in its own way.
ceramic artists, first recommended Hagiwara to the Pucker Gallery as an
This is extremely rare for an artist who chooses to work in such a limited
artist worth considering. Since 2004, Hagiwara’s work has steadily risen
color and tone range.
in the esteem of the judges of Japan’s National Art Exhibition, and now,
Although his shapes are all functional, the elegance that Hagiwara’s
still in his mid-thirties, Hagiwara occupies a position on the NAE Com-
glazes bring to them makes his forms seem much more refined than is usual
mittee. Given his rapid rise over the past six or seven years, there is little
for ceramics associated with Mashiko or the mingei movement. Of course
doubt that those who admire the work of Yoshinori Hagiwara can expect
there are plenty of other utilitarian ceramics in Japan that feature saturat-
even greater things of him in the future.
ed-iron glazes of the same basic types that Hagiwara uses. After all, the
— Andrew L. Maske
kaki glaze is one of the most physically and chemically durable stoneware
January 2011
glazes that exists. But no potter that I’ve seen is able to consistently pro-
Andrew L. Maske specializes in Asian ceramics and ceramics inspired by Asian traditions.
He is Assistant Professor of Art History at the University of Kentucky in Lexington.
Professor Maske received a doctorate in Japanese Art History from Oxford University. In
2007 he was a Fulbright Research Fellow in the Beijing University Department of Fine Arts
where he studied contemporary Chinese art ceramics.
duce the depth and variation – the exquisite portamento of kaki and black
– with which Hagiwara imbues his pieces. In his words at the end of this cata-
4
Jar
Kaki, celadon and nuka glaze
11 ¾ x 9 x 9″
YH51
Square Plate
Ame glaze
1 x 9 x 9″
YH21
Jar
Kaki glaze
12 x 11 ½ x 11 ½″
YH50
Teapot
Kaki glaze
9 ½ x 9 x 6 ¾″
YH10
5
Jar
Kaki glaze
16 x 15 x 15″
YH43
Sake Cup
Kaki glaze
2 ½ x 2 ½ x 2 ½″
YH37
Sake Cup
Kaki glaze
2 ¾ x 2 ¾ x 2 ¾″
YH38
Sake Cup
Kaki glaze
2 x 2 ½ x 2 ½″
YH39
Sake Cup
Kaki glaze
2 x 2 ¾ x 2 ¾″
YH40
Sake Cup
Kaki glaze
1 ¾ x 3 x 3″
YH41
6
Bowl
Kaki, celadon and nuka glaze
3 x 8 ¼ x 8 ¼″
YH20
Vase
Kaki glaze
8 ½ x 4 ½ x 4 ½″
YH66
Jar
Kaki glaze
15 x 13 x 13″
YH3
7
Jar
Kaki glaze
16 x 13 ½ x 13 ½″
YH44
Set of Six Bowls
Kaki glaze
2 ¼ x 6 ¼ x 6 ¼″
YH91
8
Large Platter
Kaki and nuka furi glaze
3 x 18 ¼ x 18 ¼″
YH108
Large Platter
Kaki glaze
3 ¼ x 17 ¼ x 17 ¼″
YH111
9
large Teapot
Kaki glaze
16 x 14 x 11″
YH54
Set of Six Teacups
Kaki glaze
2 ½ x 3 ¾ x 3 ¾″
YH72
10
Vase
Kaki glaze
5 ¼ x 4 ¼ x 4 ¼″
YH90
Vase
Kaki glaze
4 ½ x 4 ¾ x 4 ¾″
YH89
LARGE BOWL
Kaki glaze
2 ¾ x 12 x 12″
YH16
Large Bowl
Kaki and nuka furi glaze
4 x 12 ¾ x 12 ¾″
YH112
Pourer
Kaki glaze
5 ½ x 9 ¼ x 7 ¼″
YH62
11
Teacup
Kaki and celadon glaze
3 ½ x 3 ½ x 3 ½″
YH77
Pourer
Ame and nuka glaze
6 x 6 x 4 ¾″
YH94
Pourer
Kaki glaze
6 x 6 ¾ x 4 ½″
YH92
Teacup
Teacup
Kaki glaze
3 ½ x 3 ¼ x 3 ¼″
YH78
Kaki glaze
3 ½ x 3 ¼ x 3 ¼″
YH79
Pourer
Kaki glaze
6 ½ x 8 ½ x 6 ¼″
YH116
Pourer
Kaki glaze
6 x 5 ¾ x 4 ¼″
YH93
12
Dorahachi (Bowl)
Kaki glaze
3 ¼ x 9 x 9″
YH107
Pourer
Kaki, celadon and nuka glaze
3 ¼ x 6 x 4 ½″
YH97
Teapot
Kaki and celadon glaze
5 ¼ x 9 x 7 ¾″
YH71
Pourer
Kaki glaze
3 ¼ x 6 ¼ x 4 ¾″
YH95
Pourer
Kaki and celadon glaze
3 ¼ x 6 x 4 ½″
YH96
Teapot
Kaki glaze
5 ¼ x 8 ¼ x 7 ¾″
YH70
13
Teacup
Kaki glaze
3 ½ x 3 ½ x 3 ½″
YH74
Teacup
Kaki glaze
3 ¾ x 3 ½ x 3 ½″
YH75
Teacup
Kaki glaze
3 ¼ x 3 ¼ x 3 ¼″
YH76
Sake Cup
Kaki glaze
3 x 2 ¾ x 2 ¾″
YH88
Jar
Kaki glaze
17 x 14 x 14″
YH42
14
Vase
Kaki, celadon and nuka glaze
8 x 6 x 6″
YH6
Vase
Kaki glaze
9 x 4 ½ x 4 ½″
YH8
Vase
Kaki glaze
8 x 6 ¾ x 6 ¾″
YH7
Vase
Kaki and celadon glaze
9 x 4 ½ x 4 ½″
YH9
15
Bowl
Nuka Seiji glaze
4 x 8 ¼ x 8 ¼″
YH19
Pourer
Pourer
Kaki glaze
6 x 5 ½ x 4″
YH14
Sake Cup
Kaki and celadon glaze
2 ½ x 2 ½ x 2 ½″
YH83
Kaki glaze
6 x 5 x 4″
YH15
Sake Cup
Ame and nuka glaze
2 ¼ x 2 ¾ x 2 ¾″
YH84
Sake Cup
Kaki and celadon glaze
2 ¼ x 2 ¾ x 2 ¾″
YH86
16
Pourer
Kaki, celadon and nuka glaze
8 x 9 ½ x 7 ½″
YH12
Large Platter
Kaki and nuka furi glaze
2 ¾ x 19 x 19″
YH109
Pourer
Kaki glaze
7 x 9 x 7″
YH13
17
Teapot
Kaki glaze
9 ½ x 8 ¾ x 6 ¾″
YH56
Teapot
Kaki glaze
9 x 9 ½ x 6 ¼″
YH59
Teapot
Kaki glaze
10 ½ x 9 x 6 ½″
YH57
Teapot
Kaki and celadon glaze
9 x 9 ¼ x 6″
YH58
18
Square Plate
Kaki and celadon glaze
1 x 9 ¼ x 9 ¼″
YH25
Square Plate
Kaki glaze
1 x 9 x 9″
YH23
Square Plate
Kaki glaze
1 x 9 x 9″
YH22
Square Plate
Kaki glaze
1 x 9 x 9″
YH24
19
Jar
Kaki glaze
12 ¼ x 12 ¾ x 12 ¾″
YH49
Square Plate
Kaki glaze
1 x 12 x 12″
YH18
Square Plate
Ame and nuka glaze
1 x 12 x 12″
YH17
20
Square Dish
Kaki, celadon and nuka glaze
1 ½ x 6 ½ x 6 ½″
YH28
Vase
Kaki, celadon and nuka glaze
10 x 5 x 5″
YH68
Square Dish
Kaki glaze
1 ½ x 6 ½ x 6 ½″
YH32
Vase
Kaki, celadon and nuka glaze
9 ½ x 4 x 4″
YH65
Square Dish
Kaki glaze
1 ½ x 6 ½ x 6 ½″
YH31
21
Sake Cup
Kaki glaze
1 ¼ x 2 ¾ x 2 ¾″
YH80
Jar
Kaki and nuka glaze
10 ¼ x 10 ¼ x 10 ¼″
YH53
Sake Cup
Kaki glaze
1 ¼ x 3 x 3″
YH81
Sake Cup
Kaki glaze
2 ¼ x 2 ¾ x 2 ¾″
YH82
Jar
Kaki and nuka glaze
10 ¼ x 11 ¾ x 11 ¾″
YH52
22
Vase
Kaki glaze
8 ¼ x 5 ½ x 5 ½″
YH63
Vase
Kaki glaze
8 ½ x 5 ½ x 5 ½″
YH67
Vase
Kaki glaze
9 x 5 ½ x 5 ½″
YH64
Vase
Kaki glaze
8 ¾ x 6 ½ x 6 ½″
YH69
23
Set of Five Dishes
Kaki glaze
1 ½ x 6 x 5 ½″
YH33
Pourer
Kaki glaze
9 x 9 ½ x 7 ¾″
YH60
Pourer
Kaki and celadon glaze
9 x 9 ¼ x 7 ¼″
YH61
24
Jar
Kaki, celadon and nuka glaze
13 ¾ x 14 x 14″
YH46
Large Bowl
Kaki glaze
4 ½ x 14 ½ x 14 ½″
YH114
25
Large Bowl
Kaki and nuka furi glaze
4 ½ x 14 ¾ x 14 ¾″
YH113
Jar
Kaki, celadon and nuka glaze
16 x 13 x 13″
YH45
26
DORAHACHI (BOWL)
Dorahachi (Bowl)
Kaki glaze
3 x 9 ¼ x 9 ¼″
YH105
Kaki glaze
2 ½ x 9 ½ x 9 ½″
YH106
Bowl
Ame and nuka glaze
3 ½ x 11 x 11″
YH100
Bowl
Kaki glaze
3 ½ x 9 ½ x 9 ½″
YH102
27
Bowl
Kaki glaze
3 ¾ x 11 ¾ x 11 ¾″
YH98
Bowl
Ame and nuka glaze
3 ¾ x 11 ¼ x 11 ¼″
YH99
Set of Six Teacups
Kaki and celadon glaze
2 ½ x 3 ½ x 3 ½″
YH73
28
Bowl
Kaki glaze
3 ½ x 10 x 10″
YH101
Bowl
Kaki glaze
2 ½ x 8 ¾ x 8 ¾″
YH104
Bowl
Kaki and nuka furi glaze
2 ¾ x 10 x 10″
YH103
29
Yoshinori Hagiwara
Biography
1974 Born as the fifth generation of the
Hagiwara workshop.
1993Completed course of study at the Tochigi
Prefectural Ceramics Instructional
Institute.
1994Completed a year as a research student at
Tochigi Prefectural Ceramics Instructional
Institute.
Jar
Kaki glaze
13 ½ x 11 x 11″
YH48
2004Work was selected for inclusion in the
78th National Art Exhibition (Kokuten).
Work was selected for inclusion in the
58th Tochigi Prefectural Arts Exhibition.
2005Work was selected for inclusion in the
79th National Art Exhibition.
2006Work was selected for inclusion in the
80th National Art Exhibition.
2007Work won the Encouragement Prize at
the 81st National Art Exhibition.
2008Was made an Associate (Kaiyu) of the
National Art Exhibition Committee. Work
won the Encouragement Prize at the
Tochigi Prefectural Art Exhibition.
2009Work won the top Kokuga Prize for
Applied Arts entrants, 83rd National Art
Exhibition.
2010Work was selected for inclusion in the
84th National Art Exhibition, and the
artist was made Second-tier Member
( Jun-Kaiin) of the National Art Exhibition
Committee.
Jar
Kaki glaze
12 ¼ x 12 ¼ x 12 ¼″
YH47
30
Yoshinori Hagiwara’s work
by Ken Matsuzaki
Y o s h i n o r i H a g i wa r a i s t h e f i f t h g e n e r at i o n t o
it gets its name.
inherit the Hagiwara family pottery business, with which he has been en-
gaged since he was a young child.
tsuchibai (wood ash) is added, it produces a black glaze.
He grew up watching his father fire the climbing kiln. By the time Hagi-
wara was fourteen, he was able to fire the kiln himself, and did so with un-
most recognized works by Shoji Hamada is a persimmon-glazed big plate
usual enthusiasm. His superb technique of firing a kiln, which he definitely
with resist decoration. This particular glaze is so strongly associated with
inherited from his father, is an undisputed fact.
Shoji Hamada that it is not an easy job to create original pieces detached
Growing up in an artisan’s household, Hagiwara decided to be an artist
from Hamada’s image. Hagiwara has seen many pieces with kakiyu and ku-
approximately ten years ago. He started to submit his pieces to public exhi-
royu, glazes that are used to make pottery for his family business; it is ex-
bitions. He realized that to be an artist, he had to change his perception of
tremely difficult to go beyond it.
creating pottery completely. That forced him to reexamine himself, impos-
Instead of working with the more stable glazes he uses for the family
ing questions such as the definition of a potter as an artist, the meaning of
business, I suggested that he use traditional kakiyu and kuroyu in a climb-
creating pottery, and the significance of using a climbing kiln.
ing kiln even though these types of glaze might be unstable. It enables him
He has made impressive progress in the past few years, and received
to create more powerful expression on the pieces due to glaze. On the
the “Encouragement Prize” at Kokugakai’s annual exhibition (Kokugakai, of
other hand, it might result in more defects, which is not justified from the
which I am a member, is an association of artists). In addition, he received
family business point of view.
the “Kokuga Prize”, the grand prize of the Kokugakai, in 2009 and since
As an artisan, Hagiwara’s obligation is to get the job done for his family
then he is regarded as one of the most promising potters in Japan.
business. But as an artist, he has to create his own, original pieces. Hagiwara
Hagiwara mainly glazes with kakiyu (persimmon glaze) and kuroyu
seems to produce pottery effortlessly, but it will require more time and ef-
(black glaze). Both types of glaze are made from Ashinuma stone in the
fort to create his own art, to express Hagiwara himself.
Mashiko region. Ashinuma stone is tuff, rich with iron, and when crushed to
I would like to watch Hagiwara, who is struggling in a place between an
a powder and fired, it turns into brownish red like persimmons, from which
artisan and an artist, very closely.
Powder of Ashinuma stone is called Akako (red powder), and when
Persimmon glaze is well known worldwide, especially since one of the
22
Large Platter
Kaki and nuka furi glaze
3 ½ x 18 ½ 18 ½″
YH1
Artist Statement
by Yoshinori Hagiwara
I wa s b o r n a n d r a i s e d i n M a s h i ko, J a pa n , a n d I h av e b e e n c r e at i n g
pottery in a climbing kiln. For as long as I can remember, I have been putting wood into a kiln. I
started to make pottery just because I wanted to fire a kiln. Only at this stage of my life do I fire a kiln
in order to create pieces.
I have this vision of an ideal glaze in my mind, and I feel that I am getting there. These pieces are
my own interpretation of the traditional Mashiko glaze.
I am not fully satisfied, but these are the best I can do at this point in my life. I hope you enjoy the
movement and color of the glaze.
Credits:
Design: Leslie Anne Feagley | Editors: Destiny M. Barletta and Justine H. Choi | Photography: Kan Matsuzaki and Keith McWilliams
© 2011, Pucker Gallery | Printed in China by Cross Blue Overseas Printing Company
22
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YOSHINORI
HAGIWARA
Nocturne in Black & Persimmon
Dates:
30 April to 13 June 2011
Opening Reception:
30 April 2011, 3:00 to 6:00 PM
The public is invited to attend.
The artist will be present.
Cover:
Square Bottle
Kaki and celadon glaze
20 ½ x 8 x 8″
YH55
Large Platter
Kaki and nuka furi glaze
3 ½ x 19 x 19″
YH110