[Ceramic artist Hirokazu Furutani] Vessels born with the user in mind. The beauty found in their imperfections and "fluctuations" adds color to everyday meals.

—First, could you tell us what inspired you to pursue pottery?

My parents originally did this job, so I grew up watching them do it all the time.

At the pottery factory back then, there were already many staff members, and I was really impressed by how everyone seemed to be enjoying their work together. Seeing that, I naturally started to think, "I'd like to do that too."

—Didn't you feel any pressure to take over this business?

Actually, my father has never once asked me to take over the business.

Unlike most people from that era, they treated me with an attitude of "do whatever you like."

However, since I had many opportunities to be exposed to this kind of work naturally from a young age, I started it simply because I thought it looked like a fun job.

—What moments make you feel happy while continuing to work with pottery?

What makes me happiest is seeing more and more people using the pottery I've made.

In the past, I didn't know how the things I created were being used.

But now we have social media, so we can see how it's actually being used.

Sometimes I discover uses for things I hadn't imagined myself, and it's really fun to see those.

—Conversely, are there times when you find it difficult?

It doesn't happen often, but it does occasionally.

Because we use natural ingredients, the properties of the soil can change suddenly.

For example, if the soil contains more iron than usual, the shrinkage of the soil and the white mud used for decoration may not match.

This can cause it to peel or crack.

It's quite tough when those kinds of failures suddenly pop up in unexpected places.

—How do you deal with situations like that?

First, we look for the cause. We try every possible explanation we can think of.

For example, if there are many cracks on the surface, we might extend the drying time. We make various adjustments according to the properties of the soil.

Sometimes you can't find it in the end, but in those cases, all you can do is wait patiently for it to pass.

I make about 100 to 200 of them a day, but sometimes they all go bad, and that's really disheartening. (laughs)

—Where do you get your inspiration for your work?

I'm quite mobile, so when I travel abroad, I like to explore different places, and even in my daily life, I'm always looking for something new. It just happens naturally to me.

I also really enjoy looking at other crafts, such as woodworking and glassblowing. I might even get more inspiration from things other than pottery.

Actually, when I look at pottery, I try not to look at it too closely. If I look at it for too long, I get too influenced.

I just take a quick look from a distance and imagine, "If it were me, I'd make it this shape." That's why I don't go to ceramic artists' solo exhibitions very often. I always support them from afar.

—How do you think about "individuality" in your own work?

Actually, I don't have much of a desire to pursue individuality. Of course, some things come from within me, but I'm more often influenced by the users.

My works often stem from thoughts like, "I want to create something for someone," or "I want people to use it in this kind of situation."

I've come to feel this way even more strongly since I started working at my own booth at craft fairs and other events.

—Do you have any particular preferences regarding the production process?

We are committed to making things by hand, using traditional methods without the use of machines. We believe that it is only when people make things that the maker's feelings can truly be conveyed.

Furthermore, we also value the unique "slight variations" that come with handmade pottery.

For example, when serving food, a dish with a slight waviness or one that is completely flat makes a huge difference in the overall impression.

Of course, combining perfect things with other perfect things will result in a beautifully harmonious dish. But home-cooked meals aren't always that perfect, are they? That's why I think slightly imperfect tableware is a better fit.

So I like vessels that have a slight wobble or imperfection.

—What do you value most in your creative process?

The key is to just make things. To make a lot of them.

Doing so naturally improves the quality of your work and increases your insights. I think ideas come more easily when you're working with your hands rather than just thinking about them in your head.

That's why I think what's important is how much you can get your hands dirty every day. Rather than aiming for perfection from the start, the idea is that it's okay if it gets a little better as you keep creating.

—What kind of activities were you involved in when you were younger?

When you're young, you don't have much money, right? So, after finishing work at the pottery factory, I would make my own pieces by myself at night.

And to sell them, I set up a booth at many craft fairs. I still do that now, but I really did participate in a lot of craft fairs.

I personally enjoy creating artwork, so I make a lot of it, let people see it, and have them buy it. When that happens, the artwork runs out, and I can create more.

I've continued doing that repeatedly, and I still do it today.

But the first time I set up a stall at the Shigaraki Pottery Fair, I only sold five pieces.

I was really depressed at the time, but at the same time, I thought long and hard about the reason why.

"What went wrong?" "Maybe we didn't have enough options in our lineup."

But the reason it didn't sell was simple: I wasn't paying attention to the customers. It was more like I was just making and selling what I wanted to make.

So, once I started thinking about "how I can make everyone happy," things gradually started to improve.

Rather than saying, "This is my way of expressing it," I think it's easier for customers to visualize if I say, "This is the kind of dish this is meant for."

This shift in thinking was a major turning point for my manufacturing process and my career.

—What does pottery mean to you?

For me, pottery is my life itself.

I don't consider it art, and it's not exactly a tool either. It feels more like an integral part of my life.

Therefore, I hope that pottery will continue to be something that brings comfort and joy to people's lives, and I want to continue creating such things.

—Could you tell us about your future plans?

Actually, I don't really want to make any big changes. I'm really happy with how things are now, and I want to keep them this way for as long as possible.

However, there's also a longer-term perspective to consider.

So, even if I'm gone, I want to think about ways to ensure this pottery workshop continues.

I inherited this from my father, and that's how I am where I am today. That's why I want to pass it on to the next generation, and I hope that generation will continue to create pottery that brings joy to many people.

As long as I'm able to lead and work hard, I want to do my best. I hope I can set a good example for the next generation.