[Ceramic Artist Naoki Yamamoto] He immerses himself in nature and reflects the natural scenery in his pottery. He confronts himself and arrives at creating beloved pottery.

–Could you tell us what inspired you to start pottery?

My mother originally did pottery as a hobby, so pottery itself was something I was familiar with. However, my mother did it as a hobby and not as a job, and I myself worked a different job for about 10 years.

Amidst all that, I was thinking, "Is there any job I can do that I can really dedicate myself to?" and that's when I started attending pottery classes. The first place I went to was like a community center, and there were hardly any men in their 30s there, so I was mixed in with older women.

That was the very first trigger.

–When did you decide to make pottery your profession?

After attending a community center, I started going to classes taught by private instructors. After continuing for a while, I began to think, "Maybe I could make a living doing this."

So, the following year, I decided to attend a pottery training school. I was working part-time and looking for a job at the same time, attending about five days a week. That's how much I had fallen in love with pottery.

After a while, I returned to my hometown and started pottery making in this workshop.

– How did you present your work when you first started out as a writer?

Initially, we applied to flea markets and craft fairs, and if we passed the screening process, we could set up a stall. We started out at what you might call handmade craft fairs.

That's how I worked for the first two or three years. I would take my work to clients myself and let them see it directly.

As we continued doing that, around the third year, we gradually started getting invited to participate in events at shops and department stores. It felt like we were getting more and more opportunities to set up a booth when invited.

– Have you ever experienced anything difficult while working as a ceramic artist?

Thankfully, I've hardly ever felt that something was "difficult."

Of course, when I first started, I had some anxieties about income and other things. But I had decided that this was what I was going to do, so I didn't feel like it was mentally difficult.

If I had to say something, it would be things like body aches or muscle soreness, that's about it (laughs).

Quitting wasn't an option for me. I was that engrossed in it.

Q5. Has your approach to creating artwork changed since the beginning?

At first, I was just pursuing things I liked and colors I liked.

I would look at antiques from abroad, buy things I liked at general stores, and then incorporate those into my artwork.

Also, back then, I was selling my work myself, so I was very observant of customers' reactions. Even if I thought my work was good, sometimes no one would pick it up.

So, from around this time, instead of just making what I liked, I started to create more things while observing customer reactions.

Ultimately, seeing our customers happy is my greatest joy.

–What do you keep in mind when creating your recent works?

Lately, the things that influence me have changed a little. Rather than drawing inspiration from the works of artists or museums, I'm now drawing inspiration from natural landscapes and the atmosphere of the place.

I've started thinking about how I can incorporate the colors of trees, forests, and the sky—the natural scenery—into my artwork. It's like getting closer to nature.

When I first started, my skills weren't up to par, so even if I had a piece I wanted to create, I couldn't imitate it. But now, I can create something that's fairly close.

That's why, right now, I'm creating with a sense of connecting myself to nature.

–Could you tell us about your current artistic style?

Initially, I was making standard white pottery called "kohiki." This style involves pouring white slip over red clay and then applying a transparent glaze on top.

I personally love this style, and I used to make these pieces often when I was attending pottery classes and school.
However, I hadn't seen many examples of applying a colored glaze to that style, so I wanted to try it.

So, wanting to achieve a beautiful blue color, I once tried using a blue glaze without the white slip, but I found that the finish was ultimately more beautiful with the white slip.

I've continued this style for over 10 years since then. I think I've always had a strong desire to create things that are a little different from others.

–If you had any advice for young people who aspire to become ceramic artists, what would it be?

I hope you'll cherish that initial feeling of interest and the sense of enjoyment you first experienced.

Of course, I myself usually forget about such things and go about my daily life. But looking back, that initial feeling is still very memorable.

Also, a famous ceramic artist once told me to "create from the inside," and at first I didn't understand what he meant. But as I continued, I gradually came to understand it.

In other words, it's about digging into yourself. "What do I really like?" "What do I really want to do?" I think it's important to keep asking yourself those kinds of questions.

Going to a nice restaurant or visiting an art museum—all those experiences are interconnected.

– What is your vision for the future, Mr. Yamamoto?

Personally, I want to live more surrounded by nature from now on. Eating, sleeping, farming, working—that kind of lifestyle, where life and work are naturally intertwined, is my ideal.

Pottery has been around for thousands of years. I feel that I am, to some extent, a part of that long history. I want to continue creating things in my own style while being immersed in that natural flow.