Nanban bowl.

I still remember, 16 years ago, looking at work in galleries in Japan and marveling at how things looked like they had been lifted, intact, out of the mud. One hand had reached in and grabbed clay that was formed with a minimum of movement. Like a well executed sumi e painting, one that looks like there was an accidental spilling of ink on a piece of paper that the artist then manipulated to form a recognizable form. I wondered what it would be like to eat using work that could be seemingly returned to its natural state without much effort.

The work out of my last Nanban firing is, to me, my best so far. The color and forming have come together and I am very happy with it.

This bowl has  a slumped, natural stance. There are areas where the iron in the clay was leached out and melted onto the surface, areas where organic material burned out of the clay and left negative space.  Slight remains of the day. In this case, ash.

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