[Ceramic artist: Ryo Takahashi interview part 2] Embracing contradictions

——Please tell us about the kiln you use.

We use a kiln called a train kiln, which was invented in the United States.

Its major advantage is that it is easier to control the temperature than an anagama kiln, and because it is not in direct contact with the ground, it is less susceptible to external influences.

In a nutshell, I think it can be said to be a kiln with high reproducibility.

Right now I'm at a point where I want to delve deeper into clay, glazes, and fire, so I think this kiln, which reduces external factors, is a good fit for me.

* Train kiln

--I heard that the baking process is what you like best.

I agree.

It's a very enjoyable moment when you're facing something as high-energy as fire.

When firing a kiln, it is important not to focus too much on the numbers.

The kiln is equipped with a thermometer, so we can get a sense of the internal conditions to some extent, and we also refer to past data.

But in the end it's up to your own eyes to decide.

*Inside of the kiln

--Are you not worried about dealing with fire?

I'm having fun now.

Sometimes the food may cook differently than expected, but that is part of the outcome.

Every time I bake, I repeatedly examine why it turned out the way it did and how I can achieve the ideal expression.

Any outcome will be a learning experience, so don't worry too much.

*Stacked firewood

-- The turquoise blue is striking, but do you have any particular preferences for blue?

The color blue in nature is not consistent.

The colors of the water and sky change depending on the time and location.

I've felt that way since I was a child.

I used blue glaze to express that feeling.

In the kiln, the glaze flows due to the flames and air currents and is fixed in place.

I think that fluidity and randomness are close to the "blue" that I have felt.

-- Are there any words that have made an impression on you?

Nozomi Shinohara's words are, "Sharpen your words."

Pottery is an expression using clay.

So I didn't really feel like words were important.

However, if you listen to these words and sharpen your words every day, your thoughts will become sharper.

I felt that doing so would sharpen my work.

Our communication on social media is an extension of this.

——Do you have any signature pieces?

It's a mug.

It all started when I found a recipe for making a matcha bowl in the library.

The process of separating and connecting is very interesting, as the small parts are integrated into one.

In the process, I felt like I had found an answer.

I think the things I want to make will continue to change, but mugs are a piece of art I would like to continue making.

- What are the moments when you feel joy and difficulty in creating?

Loading the kiln is fun.

Based on past experience, the flow of the fire and how the temperature will rise are predicted and the pieces are put together like a puzzle.

This is the moment when imagination comes into play.

On the other hand, it can be difficult when you're trying to find the right shape.

I'm not very good at sketching, so I try to find the shape as I go, but I can't seem to arrive at the ideal.

I know it's not ideal, but I don't know how to make it ideal.

It can feel like you are standing still and can be painful.

——Please tell us about your next challenges.

I am interested in having my work placed in a space such as a hotel.

I had a very moving experience when I saw a vase placed in the entrance of a hotel in a magazine or on social media.

It felt like the space itself was a work of art.

Vessels can also create the atmosphere of the entire space.

One of the challenges I have taken on in recent years is making pots.

- Finally, please tell us your thoughts on the production.

Rather than wanting to show it to someone, I feel like I'm sublimating the impulses inside me.

So I don't compare myself to other people that much.

You could even say that I find fulfillment in creating.

However, once you have created something, someone needs to see it, and since it is your livelihood, you also need to think about selling it.

I think the marketing perspective is also important.

Still, I feel that it's a little strange to focus solely on strategy and presentation.

I feel like I'm moving away from the pure act of "making."

There is certainly a contradiction within me.

Still, I continue to make it.

It is more human to live with contradictions.

That is why I want to cherish this contradiction.

Every word we exchanged in the workshop conveyed Takahashi's uncertainty and confidence.

Reproducibility and intuition, strategy and impulse.

It seemed to me that the depth of the vessels is reflected in the artist's attitude of not denying this contradiction but rather accepting it as the driving force behind his work.