[Ceramic artist: Shintaro Enami interview part 2] Pottery that returns to everyday life

--The production notes kept in the workshop include something like blueprints. Do you write them down often?

That's right. Every day I think about the image of what I want to make and then draw up a blueprint.

Sometimes I just go to the potter's wheel without thinking about anything, but that's really rare (laughs).

By deciding what you want to make in advance, you will have less hesitation while creating.

It may be similar to the feeling of not having to stop working.

--The color palette, based on white and beige, is striking. How did you arrive at these colors?

I'm a liberal arts student so I'm not very good at mixing glazes.

So I'll just try a few.

I mix a lot of different colors and bake them in tests to find the perfect color.

The current white and beige are the colors that I intuitively felt would work best with my pattern.

In the future, I would like to try other colors.

-At what moment do creative ideas come to you?

There are many times when I'm not at the potter's wheel.

When you're brushing your teeth or cooking, there are moments when your body seems to move on its own without you even thinking about it.

That's when ideas often come to mind.

Not only ideas for vessels, but also thoughts and feelings that you were unable to put into words can suddenly be put into words.

In those cases, I try to quickly take notes.

-Was there a work that was a turning point for you?

It's a rimmed plate.

Because of its simplicity, it is difficult to express individuality in this vessel, but I think I have managed to create a shape that shows off my patterns in the most beautiful way.

The design is conscious of shadows, and it's my favorite piece, and it's the dish I use most often at home.

This plate is where my work began.

-What is the joy of creating it?

It's the moment when you create something new and actually try using it.

I feel really happy when I think, "This is good."

I was particularly impressed when I completed the mug with a tea strainer.

Even if a work has been rejected, if you continue to use it, you may start to see areas for improvement or realize that it's not so bad after all.

--On the other hand, what do you find difficult?

It's a glaze.

Even if the test piece looks good, the impression changes when you bake it at actual size.

I think it's difficult every time.

--Have there been any changes since you became independent?

I had just become independent and didn't know my own work capacity, so there was a time when I felt overwhelmed (laughs).

But it was really nice to have more time with my family.

I really like my current environment where I can work while watching my children grow up.

-Finally, please give a message to those who aspire to become potters.

I don't think you need to think too much about "making something good."

First, create something you want to use and try it out.

I'm sure there are people who will empathize with you.

Another thing is to go outside and get inspired by different things.

I think that if you spend all your time in front of the potter's wheel thinking only about pottery, you'll end up becoming big-headed.

Although it may seem like a roundabout way of getting to know different values from various cultures, I think it has a very positive impact on my work.

Enami's words were always centered around the theme of "daily life."

Don't try to be special, make something that you and your family can use comfortably.

The tableware born from everyday life naturally invites the user into Enami's life.