St. John's Pottery Apprentice 2004 - 2006
Collegeville, MN
Apprenticed for two years under Richard Bresnahan at St. John's Pottery.
Here, through discipline and focus, I learned about material, technique, and wood firing as taught by my teacher.
Here, through discipline and focus, I learned about material, technique, and wood firing as taught by my teacher.
Japan 2006 - 2009
Karatsu, Japan.
I was able to be a weekly student at the Nakazato compound at the Ochawagama old kiln site from 2006-2009. This family has 14 generations of pottery tradition and has extreme historical and cultural importance in Japan.
Pictured here is Nakazato XIV and his father Nakazato XIII. Nakazato XIII passed away in 2008. I'm lucky to have met him. At this studio, I studied a coil and paddled hand-building technique called tataki from the studio apprentice.
I was able to be a weekly student at the Nakazato compound at the Ochawagama old kiln site from 2006-2009. This family has 14 generations of pottery tradition and has extreme historical and cultural importance in Japan.
Pictured here is Nakazato XIV and his father Nakazato XIII. Nakazato XIII passed away in 2008. I'm lucky to have met him. At this studio, I studied a coil and paddled hand-building technique called tataki from the studio apprentice.
Karatsu, Japan.
Working with Yano Naoto. He is among the next generation of up and coming potters in Karatsu. During my time with Yano, I studied Karatsu's old ceramics called Ko-Karatsu; going to many old kilns, talking about their shards and their importance and relevance today. Yano is passionate about this research and spent time in Korea tracing Japan's ceramic roots even farther. He introduced me to another branch of aesthetics within Karatsu pottery seperate from the long Nakazato traditions which was a rougher, wilder aesthetic and sponteneity, blemish, and movement was analyzed on a whole and according to balance.
Working with Yano Naoto. He is among the next generation of up and coming potters in Karatsu. During my time with Yano, I studied Karatsu's old ceramics called Ko-Karatsu; going to many old kilns, talking about their shards and their importance and relevance today. Yano is passionate about this research and spent time in Korea tracing Japan's ceramic roots even farther. He introduced me to another branch of aesthetics within Karatsu pottery seperate from the long Nakazato traditions which was a rougher, wilder aesthetic and sponteneity, blemish, and movement was analyzed on a whole and according to balance.
Tanegashima, Japan.
Making work with Etsuji Noguchi. I was lucky to have the opportunity to travel several times to Tanegashima and work with Noguchi at his studio Tanegashima-gama. He is a great potter making work internationally. In Tanegashima, I made traditional "nanban" ware made from iron-rich clay and fired unglazed to mid-range temperatures through building large coal beds. Although this is an old tradition throughout the southern small islands of Japan to Thailand, little is truly understood. This style of firing still holds so much mystery.
Making work with Etsuji Noguchi. I was lucky to have the opportunity to travel several times to Tanegashima and work with Noguchi at his studio Tanegashima-gama. He is a great potter making work internationally. In Tanegashima, I made traditional "nanban" ware made from iron-rich clay and fired unglazed to mid-range temperatures through building large coal beds. Although this is an old tradition throughout the southern small islands of Japan to Thailand, little is truly understood. This style of firing still holds so much mystery.
Korea 2009
Ulsan near Busan, Korea.
Learning from Kim, Young Gil. Kim's passion is researching old Korean pottery and old kilns. I first met him as he travelled with a camera crew, documenting the historical relationship between southern Korea and Japanese ceramics. I spent one month at his studio in Korea visiting 15 old kilns, learning traditional Korean kiln-building techniques, glazing, and firing. I learned so much during my time with Kim-san and his apprentice Tanaka.
Learning from Kim, Young Gil. Kim's passion is researching old Korean pottery and old kilns. I first met him as he travelled with a camera crew, documenting the historical relationship between southern Korea and Japanese ceramics. I spent one month at his studio in Korea visiting 15 old kilns, learning traditional Korean kiln-building techniques, glazing, and firing. I learned so much during my time with Kim-san and his apprentice Tanaka.
Ongii Pottery Village outside Busan, Korea.
Watching Jin-Gyu Heo. These are just pictures I'd like to share. He is one of the best traditional Onggi potters in Korea and travels internationally. By using large coils and paddling, Heo can make a large jar in about 20 minutes. Truly amazing to watch. Tanaka (Kim's apprentice) and I were invited to work in his studio for a few day hands-on experience.
Watching Jin-Gyu Heo. These are just pictures I'd like to share. He is one of the best traditional Onggi potters in Korea and travels internationally. By using large coils and paddling, Heo can make a large jar in about 20 minutes. Truly amazing to watch. Tanaka (Kim's apprentice) and I were invited to work in his studio for a few day hands-on experience.
