[Pottery Studio: Koshun Touen Interview Part 2] As a craftsman

──When it comes to manufacturing, is there any philosophy that you value?

"Never say you can't do it." This is a phrase passed down to me by my predecessor, and it is one of the ideas I hold dear.

Of course, there are some things that are physically and temporally impossible.

However, our customers are coming to us for advice because they are having trouble with something, so we try to avoid saying ``we can't do it'' whenever possible.

Of course, there is the option of refusing, but that won't help you grow.

I feel that continuing to try and fail will ultimately become a source of strength that will support me.

──Are there any other lessons you learned from your predecessors?

Of course, there are many things, but there wasn't an atmosphere in our house that encouraged us to follow the teachings of our ancestors.

His idea was that if people change, the things they create will change, and so will their philosophies, and that this is natural.

Rather, I feel like I learned that the world is not so kind that you can survive by continuing to do the same thing.

I believe that creating new things in line with the times is a prerequisite for continuing.

Understand your own individuality, be satisfied with it, and express it.

I feel a bit unsure about choosing a different path, but I feel it is necessary.

*A work that explores the possibilities of porcelain

──Is there any manufacturing that you are good at?

To be honest, I don't really think about my strengths and weaknesses.

However, I think our job is to do things that machines are not good at.

For example, if someone says, "Please make this product 5 mm larger," it would take time to remake the mold if we were to make it with a machine.

But we can do it by just changing the process a little.

I believe that this high degree of freedom is the strength of craftsmen.

When do you feel joy in your work?

When it's delivered.

Delivery also marks the moment when the products "graduate from our workshop."

We are not artists who create one-of-a-kind pieces, so we don't get too excited or upset about a single piece.

Perhaps the happiest moment is when a customer says, "I love it, please make more."

──On the other hand, what about the most difficult moments?

There are tons of them (laughs).

I've been making pottery for almost 30 years now, but there are still many things that don't go as I want them to.

There are times when the trial and error process can be overwhelming.

Of course, we make hypotheses and verify them, but as the deadline approaches, we start to feel anxious.

Still, there is a feeling that can only be obtained through that process.

Even experiences that don't go well will eventually lead to the next step.

*Spatulas used for shaving

It is said that pottery has a lot to do with nature. What do you think about the parts that you can't control?

There may be moments of negativity, but in the long run I think I'll enjoy it.

Our work is that of craftsmen.

So I try to control it to a certain extent.

In fact, we have to do so in order to always maintain the same quality.

But at the same time, there is also a longing for the parts that cannot be controlled.

The world of manufacturing, entrusting it to the god of fire, is a wonderful one.

──What is the appeal of manufacturing?

Pottery is not so much about "choosing a profession" as it is about "choosing a way of life."

Making things is not just about making money, it's about experiencing the unique appeal of making things.

I think that manufacturing is a privilege for humans.

Many jobs involve manufacturing, but being able to create something directly with your own hands is something that is unique to the world of craftsmen.

Pottery as a lifestyle is really interesting.

──Please give a message to those who want to learn pottery.

Pottery making is like cycling.

Even if you fall at first, you will definitely be able to do it if you keep going.

And once you get the hang of it, you'll never forget the feeling.

If there are people who are serious about trying this, I would love for them to visit my workshop.

I aim to create an "open workshop."

This is because I want many people to feel closer to pottery.

It will be hard at first, but passion is all you need to keep going.

It may take three to five years for it to become a reality.

But I believe it's a world worth spending time on.

──Please tell us about your future challenges.

I would like to collaborate with other industries.

I believe that collaborating with different fields while maintaining the functionality of pottery will open up new possibilities.

Above all, I want to create a society where craftsmen who have been working for a long time are rewarded.

I think they deserve more attention, both economically and socially.

──Finally, throughout this interview, it seems like you take pride in the word "craftsman," but what do you think is the difference between an artist and a craftsman?

I believe that an artist's job is to express what is inside them and question society.

I realized at age 36 that this wasn't my forte.

The desire to please the audience takes precedence over expressing myself.

I realized that being a craftsman is more suited to me.

I accepted the role because I was convinced of my own personality.

In terms of the creative process, it's a bit like which came first, the chicken or the egg, but in both cases the desire to create something beautiful remains the same.

But my joy comes from meeting my customers' needs and bringing smiles to their faces.

Talking with Takashima-san made me realize the meaning of the word "monozukuri" and what the life of a "craftsman" is like.

This open workshop will surely be loved by many people for generations to come.

I am also one of those who love this workshop.