[Ceramic artist: Yoji Yamada interview part 1] Saving myself through creation

-First of all, please tell us what made you decide to pursue pottery.

My mother worked in Shigaraki, so I had many opportunities to come to this place from a young age.

So I was vaguely aware that there was a job that involved making pottery.

But I wasn't particularly interested in it at the time.

When I was a second-year university student, I met someone who made pottery, and for the first time I became aware of the idea of "making pottery."

I studied chemistry at university, influenced by my high school teacher.

I was fascinated by the words, "Study chemistry and you'll understand how the world works."

I think what he meant was that every substance in this world can be understood through a chemical approach.

However, as I continued to study, I began to feel that I wanted to understand the world in a more conceptual sense.

So, around the time I was wondering whether to quit university, I met that person.

It was this encounter that made me think, "I'd like to try pottery."

It may have seemed like a coincidence, but it was a major turning point in my life.

Have you always loved making things since you were a child?

I don't have any particular experience in making anything.

I guess my experience in making things is probably not that different from other people (laughs).

I think my brother had a big influence on me in changing my perception of what it means to create.

Actually, my brother was sick so he couldn't go to school much.

Instead, I spent my time in art classes, doing things like sculpture and painting.

When I saw my brother making things, even as a child I felt that "making things can save people."

When I was a university student, I came into contact with pottery and began to think that by creating something, I too could be saved from the troubles I was facing .

--You've been making pottery for a long time. Is there an ideal shape?

There isn't really a "this is how it should be".

In my experience, I am often moved when I see something I have never seen before.

So I would be happy if something like that could be created.

Also, since it is a container, I am conscious of making sure that the functional aspects are properly considered.

I believe that tableware is not only a tool to be used, but also something that has the potential to move people's hearts.

It would be nice if there was a bit of surprise or a sense of being drawn to it for some reason.

I'm looking for something that appeals to me intuitively, not just logically.

※Part of the work

--It's a wonderful workshop, but do you have any particular preferences?

The good thing is that there are no houses around (laughs). That means I can fire the kiln whenever I want.

I left most of the design up to the carpenters.

I had a relationship with him, so I was confident that if I asked him, something good would come out of it.

It is an easy-to-use workshop that is not only designed but also considers traffic flow.

*The anagama kiln can be seen from the workshop

--What do you value most in your production?

"Don't push yourself too hard." I consciously try to relax my shoulders.

Another thing, as I mentioned a little earlier, is to "not decide too much."

For example, we blend about four different types of soil, but we don't set a specific ratio.

Mix it up according to what comes to mind at the time.

--Are you worried about not making a decision?

Not anymore (laughs)

I've made a lot of big mistakes, so I've become able to predict the outcome to a certain extent.

I don't take any extreme risks, but I do leave some ambiguity.

I think being a little vague and not making a decision suits my personality better.

* Inside the kiln

During the time he spends working with the soil, Yamada chooses not to make any decisions.

It wasn't ambiguity, but a certain freedom born from accumulated experience.

The second part will be released tomorrow.