[Ceramic artist: Asuka Juba interview part 1] Circulating production

——Please tell us how you first encountered pottery.

My mother loved pottery, so I was surrounded by beautiful pottery from the time I was old enough to understand.

My mother had a lot of collections at home, and I was always in an environment where I could touch, use, and cherish them.

So tableware was something that was very familiar to me.

However, at that time I still had no idea that I would pursue a career in pottery.

I went on to university, and as I continued my studies, I began to wonder what I really wanted to do.

This feeling made it difficult for me to come to terms with it.

Around that time, I had the opportunity to hear from a friend about the appeal of manufacturing, and I became very interested.

The deciding factor was seeing Kawai Kanjiro's exhibition.

He can create everything from everyday vessels to large works of art.

I was amazed at the freedom of the world of pottery, and at the same time, I began to want to pursue this career.

- Do you think that a career in pottery was inevitable?

Well, to be honest, I don't really know (laughs).

I've always been interested in pottery, and there was a time when I borrowed books from the library to study it, but I never made a clear decision that I wanted to become a potter.

However, even within the world of crafts, I felt that a world like woodworking, where precision down to the millimeter is required, was not for me.

I'm not very good at detailed numbers (laughs).

The moment I touched the clay for the first time, I felt the texture and saw the shape being created, and I knew this was it.

There are many different materials out there, but that was the moment I realized that clay is the material that suits me best.

——What is your ideal vessel?

Something that naturally blends into a person's life and leaves traces of use.

I believe that the beauty of pottery is not limited to the creator's thoughts, but rather that it is imbued with the time and emotions of the user.

In terms of specific shapes, I prefer things that have a bit of roughness to beautiful, well-defined things.

That's why I try not to over-elaborate my work.

I create my works in a way that captures the expression of each piece.

——What do you think is the appeal of pottery?

I think the appeal of pottery is that the work naturally blends into the cycle of daily life.

We sometimes make ash from the rice straw our family grows and use it to fire our works.

They grow their own food and use what's left over in their artwork, creating a cycle where life and creation resonate with each other.

I believe that being able to incorporate this cycle directly into a vessel is something that is unique to pottery.

*The garden at home. Chickens are kept there.

——Please tell us about the workshop environment.

The studio is in what was originally his home.

I thought I would stay there until I found another workshop, but I've become completely accustomed to it.

This place where the potter's wheel is located was actually where the family ate meals.

It's a common place, so there aren't many special features or charms to it...

I really like the view from the window.

Creating in nature is calming and allows me to feel the changing of the seasons every day.

Even a single leaf can be a truly moving moment.

That kind of environment has helped the production in some ways.

--What do you think about when you're in contact with the soil?

When I'm working, I concentrate on what's in front of me, so I feel like I'm creating without thinking about anything.

One thing I am conscious of throughout my production is not to waste the soil.

Once the soil is burned, it can never be restored.

Soil is not infinite, so I want to cherish each and every piece.

Working with limited materials motivates me to really focus on my work.

*The soil that supports the production

The second part will be released tomorrow.