Introduction
Kazuya Ishida was born into a family of potters in Bizen, Japan. Home to one of Japan’s “six ancient kilns”, Bizen ware has a rich heritage and distinct style. It has a rustic, simple, somewhat raw and timeless appearance. Ishida, nicknamed “Kaz”, brings a youthful spirit to this long standing craft and is determined to not only increase its audience within Japan, but the entire world.
Interview
Career
Untold Japan: How did you get started in pottery?
Kazuya Ishida: My father is a pottery artist, so I was around Bizen ware from the time I was born. Initially, I wasn’t that interested in becoming a potter myself, but I eventually changed my mind and came back here to start my apprenticeship.
UJ: What inspires you in your work and keeps you going?
Kaz: I draw inspiration from almost anywhere. I think it’s really important to not just constantly focus inwards on pottery. There is a lot of inspiration to be found in nature, because I am working with a natural material. I often close my eyes when working and just feel the clay and how it moves. Clay is never exactly the same, so just using my fingers can give me a better idea of the material I am working with than any other way.
We take a look at Kaz’ self-built climbing kiln just behind his house.
Artistic Process
UJ: How often do you fire this kiln?
Kaz: Only once or twice every 6 months. Because there is no glaze, there is a lot to take into account when firing. Firing usually takes place over more than 10 days, temperatures are high and need to be controlled very carefully. Bizen clay also shrinks a lot more than other clay when firing, about 20%. We also need to think about position in the kiln, which clay is going to turn into which color, patterns created by ash and so on. It’s a bit like a difficult puzzle to stack everything inside the kiln.
UJ: Do you do all this work by yourself too? In the art world there are often a lot of assistants involved, but it looks like you do all of this by yourself?
Kaz: Some of the big studios have assistants do the firing, but in my case I do it myself. I also dig up my own clay, so I really get to have control of the whole process and feel close to my product. I think what often sets Japanese craftspeople apart is that a lot of us like to be involved in this way.
Local Influence
UJ: Do you get the clay nearby?
Kaz: Yes, it’s all local. I share it with my father, but recently I’ve also focused on a new style that I call “Bizen-Porcelain”. There is a mine for porcelain in Bizen, so I went there the other day and also dug up some clay 150m below ground with the miners.
UJ: With such a long history behind Bizen ware, are there people who say what you do is not true to the tradition? I can imagine mixing pottery and breakdance would ruffle some feathers with some people.
Kaz: There are a lot of people who say that what I do is not really true to Bizen ware, but the fact is that I use local Bizen clay and apply my own style. Most important for me is that people who see or even purchase my work appreciate what I do. If Bizen ware is not seen or appreciated by enough people, then that is when it is truly at risk of disappearing, not because I apply techniques that others don’t.
There needs to be a good balance between the market and craftspeople who continue this tradition. I think a lot about where Bizen ware can and will go in the future. If my personal technique becomes a new tradition eventually, isn’t that great?
Future Aspirations
UJ: You are clearly a person with many interests, so while I feel this is a very direct question and potentially rude question to ask an artist, do you see yourself creating pottery forever?
Kaz: In my case pottery helps me live the life I want to live and I don’t see that changing anytime soon. If that did change, then maybe I would focus on something else too. For now I am really enjoying this journey and I can see so many more opportunities for Bizen ware.
UJ: Thank you so much for having us!
Commentaires