[Pottery studio: Koshun Touen interview part 1] The studio is where I belong

──Why did you choose to pursue pottery?

My family has been making pottery for generations.

The kiln was originally located in Aichi, but moved to Kyoto during my great-grandfather's time.

My father never told me to take over.

Rather, there was an atmosphere that no one would be allowed to take over unless they had the determination to do so.

I also helped out with pottery work, but I didn't have any special feelings about it at the time.

I was interested in chemistry, so I studied science at university and worked for a manufacturer after graduating.

──So that was what prompted you to return to ceramics.

One day, when I returned to my parents' house for the first time in a while, I suddenly felt the atmosphere of the workshop.

When I was surrounded by the smell of earth and the sounds of the kiln, I felt like this was where I belonged.

So when I was 24, I talked to my dad and we decided to go back.

My father seemed to sense my resolve and readily allowed me to continue working in pottery.

That's when I started my training.

Although I had been helping out in the workshop since I was a child, I had hardly ever touched a potter's wheel.

However, I had some understanding of the general flow and procedures of the work, so that was an advantage.

──What is your ideal vessel?

It's something that naturally makes you think, "I want to eat this" or "I want to drink this."

Rosanjin said, "Tableware is the kimono of food," and I truly believe that is true.

No matter how beautiful the design, if it cannot be used it cannot be called tableware.

The so-called "beauty of utility" that is intended for use and the "universal beauty" that the vessel itself possesses.

I try to strike a balance between these two.

Although it is an abstract expression, I would like to create a vessel that resembles a cherry blossom.

Everyone thinks that cherry blossoms are beautiful.

My ideal vessel is one that leaves a positive impression on anyone who sees it.

*Painting work

──You make a variety of pottery, but do you have any particular preferences when it comes to making things?

I try not to be too picky.

Of course, it's not impossible (laughs).

However, since we create products based on requests from customers, we feel that if we were to make our own preferences too obvious, we would not be able to meet our customers' needs.

We create products that are flexible yet aim to exceed the ideal, while communicating with our customers.

Perhaps it's our commitment to surprise our customers by creating something that exceeds their expectations.

※Works

──I think that wanting to surprise customers is a very typical Takashima-like answer.

──This workshop we're talking about has a mysterious, calming charm. Is there anything you're particularly particular about in this workshop?

We moved to this location about 80 years ago, and I think the prototype of the current building was completed about 60 years ago.

It has been renovated many times over the past 60 years, so there is very little of its original appearance left.

There's a reason why it has been renovated so many times.

This is because we are always particular about creating flow that makes it easy to work.

Making work easy means that it is well-organized.

My predecessors have made small adjustments to suit each era, and I have also made my own changes.

It feels like it's being brushed up to suit the times and the people who use it.

*The scraping process. Excess soil is removed by scraping.

--It seems like the passion of the craftsmen has been passed down in this workshop. Next, could you tell us about your commitment to the clay?

My previous generation and the generation before that both dealt with porcelain, so we still make a lot of porcelain today.

However, we always have a variety of clays on hand to accommodate a wide range of pottery needs.

This also ties in with what I said earlier, but we don't have any particular preference for using only this soil.

The important thing is to meet the needs of our customers.

To do this, I think it's necessary to have a wide range of creative possibilities.

After all, we are not "artists" but "craftsmen."

How do you find the optimal solution based on your customer's needs?

Even when I open my sketchbook or croquis pad to think of something, surprisingly nothing comes to mind.

I often get ideas when I'm talking to people.

As we go through the conversation and say things like, "This is good, that is bad," the optimal solution will begin to take shape.

Also, sometimes inspiration strikes me while I'm working.

When I'm turning the potter's wheel or painting, I get an idea that this will work.

The second half will be released tomorrow.