Oregon Potters Association Ceramic Showcase 2015 presents:

Bond From the West–KIZUNA IIArtworks from the Mashiko Ceramics and Arts Association

In The Aftermath Of Earthquake And Tornado

The Oregon Potters Association is honored to welcome the Mashiko Ceramics and Arts Association to Ceramic Showcase 2015 with “KIZUNA II.” This exhibition reflects the bond between OPA and MCAA, beginning with OPA’s earthquake response, MCAA’s rebuilt gallery’s invitational show in 2012, and the resulting relationship between our organizations. We value these connections with MCAA and look forward to future partnerships, furthering OPA’s mission to educate, inspire and transform lives through clay.

KIZUNA II reveals the diversity in the contemporary ceramics of Mashiko, providing a unique opportunity for our community to learn and gain appreciation of cross-cultural aspects and aesthetics of ceramic arts. OPA appreciates the dedication of the artists whose efforts have produced this beautiful exhibition. We sincerely thank those who have made this cultural exchange possible, including the Regional Arts and Culture Council and the Portland Japanese Garden.

Mashiko ceramics have been inspiring artists around the world since the time of two Living National Treasure potters, Hamada Shoji and Shimaoka Tatsuzo, whose belief in the power of traditional folk pottery brought the world’s attention to value of the work of the unknown craftsman. Today, after the devastation of the 2011 earthquake, Mashiko potters have rebuilt their broken kilns and found new directions in their work. We are honored to partner with the Mashiko Ceramics and Arts Association to bring Mashiko potters to OPA Ceramic Showcase and the KIZUNA: Rebirth of Mashiko Ceramics exhibition at the Portland Japanese Garden in June. KIZUNA means “the bonds between us.” It is our hope that the bonds between the artists of Japan and the US will grow stronger every day.

I would like to extend congratulations to the potters of Mashiko Ceramics and Arts Association and the Oregon Potters Association on the second joint showing of their ceramic works being hosted by OPA’s 33rd Annual Ceramic Showcase. It is truly uplifting to see how a supportive friendship has blossomed from the devastating earthquake which struck northeastern Japan in March of 2011. Such relationships strengthen our bonds across the Pacific and have beneficial ripple effects beyond those directly involved.

The Japanese Government deeply appreciates the encouragement and support our country received, and the Japanese people continue to receive, even now four years after the earth-quake and tsunami. It is heart-warming that this relationship, which began in response to that terrible disaster, continues to grow, mature and bear beautiful fruit.

Donna Cole, OPA President

Diane Durston, Arlene Schnitzer Curator of Culture, Art, and Education, Portland Japanese Garden

Two and a half years ago we had the first MCAA-OPA joint show at the MCAA 6Gallery in Mashiko, following the earthquake which turned our lives and livelihood upside down. We were, and continue to be, grateful for the support and encouragement we have received from OPA and from all over the world.

We are doing our best to bounce back and go forward on all levels of our lives—especially our creative work in ceramics. Following the example of OPA, we formed Mashiko Ceramics and Arts Association(MCAA). Through MCAA we support and nurture our local arts community and reach out to other earthquake-impacted areas.

MCAA’s aim is to contribute to Peace through our clay work. We are delighted to be a part of Ceramic Showcase 2015 as our second MCAA-OPA joint endeavor. We hope to see this relationship continue to flourish well into the future.

Satoshi Yokoo, MCAA President

Hiroshi Furusawa, Japanese Consul General

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Emiko Asada

The theme of my clay work is clouds. I look up at the sky often to see the clouds. I am following the clouds with a feeling of awe for the seen and the unseen.

•OriginallyfromKyoto,workinginclayforover40 years.

•Numeroussoloshows,aswellastwo-personshows with her husband, Satoshi Yokoo.

•Includedininternationalinvitationalshows,inKorea, China, US and in Europe.

Ikuzo Fujiwara

I came up with the idea that Life is derived from the Earth, like a dirt ghost. That’s how I started creating devils out of lumps of clay. The reason I only use an anagama kiln for firing these devils is that I would love to make them return to Nature, just like a rock by the roadside. These devils are very symbolic to me, express-ing the spirit of the Jomon people, where we Japanese people come from.

•StudiedatTokyoUniversityofFineArts, majoring in traditional Japanese paintings.

•WorkingwithMashikolocalclayfor40years.•StudiedceramicmuralmakinginKyoto.•Createdover600ceramicsmuralsallover

Japan, and published books of his work.•NumerousinvitationalshowsbothinJapanand

abroad.

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1. 呉須色絵盤皿 Rectangular Shaped Plate with Gosu (natural cobalt) Slip Decoration 68.0 × 20.0 × 3.0 cm 26.7 × 7.8 × 1.18 in

2． 雲のかたち盤皿 Rectangular Shaped Plate with Cloud Design 65.0 × 14.0 × 6.0 cm 25.5 × 5.5 × 2.3 in

3. 呉須色絵はこ Box with Gosu (natural cobalt) Slip Decoration 12.0 × 11.0 × 9.0 cm 11.8 × 11.8 × 4.5 in

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4. 邪鬼石 Jaki 29.0 × 18.0 × 27.0 cm 11,4 × 7.1 × 10.6 in

5． 定印鬼 A-Un Ki 14.0 × 14.0 × 20.0 cm 5.5x5.5x7.9 in

6． 邪鬼

Jaki 18.0 × 16.5 × 9.5 cm 7.1 × 6.5 × 3.7 in

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Andrew Gemrich

Using the texture and subtle variations in unpro-cessed Mashiko clay straight from the ground, I hope to create work that is earthy and strong. Through simple techniques and minimal decoration, I try to capture the texture and feel of earth to best express my connection to the world and its resilience.

•GraduatedfromKalamazooCollegein Michigan, then moved to Mashiko.

•Workingwithclayover20years,withsoloshowsevery year.

•StudiedunderToshijiChikaraishi.•WonthefirstHamadaAwardattheFirst

Mashiko International Ceramics Competition.

Akihiko Ishijima

I create clay work reflecting conversations within myself between expressions in three dimensions and the feel of two dimensions. I treasure the vitality of work created by hand.

•StudiedunderSanzaemonKamatainHagi,andattheRoyal Danish Academy of Fine Arts, School of Design.

•Workingwithclayabout40years.•Numerousshowsandawardsfromnational

competitions.

7． ぽっと “Potto” Pot 31.0 × 13.0 × 45.5 cm 12.20 × 5.11 × 17.9 in

8. どびん “Dobin” (Big Teapot) 26.0 × 13.0 × 19.5H cm 10.24 × 5.11 × 7.68 in

9. たまてばこ “Tamate-bako” (Urashima’s Casket) 16.0 × 9.0 × 11.0 cm 6.30 × 3.54 × 4.33 in

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25． 掛分角花器 Squared Vase with Flowing Glazes 25.0 × 23.0 × 45.0 cm 9.8 × 9 × 17.7 in

26． 鉄絵大鉢

Large Vessel with Iron Glaze Decoration 35.0 × 8.0 cm 13.7 × 3.1 in

27. 窯変角花器 Squared Vase with Natural Ash Glaze Effects 8.0 × 10.0 × 20.0 cm 3.14 × 3.9 × 4.3 in

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Shoichi Kamiya

I have always enjoyed using Mashiko’s local clay and glaze materials in my work, creating functional pottery that people can enjoy using in their daily life. I have a strong passion for anagama firing with all natural effects on my big vases and platters. Unfortunately, I am unable to be here. I departed from this world last year in May, but my spirit is very happy to be here present in my work, and with my colleagues.

•Born and raised in Mashiko.•Workedwithclay50years(atShimaokaPotteryunder

Tatsuzo Shimaoka for 27 years). Traveled to Canada, US and New Zealand as Mr. Shimaoka’s assistant.

•Establishedhisownkiln/studio,hadnumeroussoloshows, and awards.

•PermanentcollectionofPacificUniversity,ForestGrove, Oregon.

•ShoichiKamiyapassedawayMay2014.

Masayuki Miyajima

I think my clay work is a bit different from traditional mingei pottery. I use clay and glaze materials from outside of Mashiko, and fire my work in a gas kiln. I create my pottery hoping that the pieces are used in peoples’ dailylife, and remain a part of those lives.

•BorninZushi,Kanagawa,andmovedintoMashiko,tobecame a disciple under Tatsuzo Shimaoka for 5 years.

•Workingwithclayfor34years.•Worksincludedinnationalcompetitions.•Activelyteachingworkshopsinternationally.• InthepermanentcollectionofNewOrleansMuseum

of Art.

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10. 灰被面取壷 Faceted Vase with Yakishime Natural Ash Effects 14.0×14.2×20.8 cm 5.5 x 5.6 x 8.2 in

11. 柿釉梅文五角皿 Pentagonal Plate with Persimmon Glaze 24.2 × 24.2 × 4.8 cm 9.5 × 9.5 × 1.8 in

12. 白掛点文面取食籠

Faceted Food Container with White Glaze 17.3 × 16.5 × 16.0 cm 6.8 × 6.5 × 6.3 in

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28. 象嵌唐草文壷　 Vase with Inlay Pattern (Zogan) 19.5 × 19.5 × 24.0 cm 7.7 × 7.7 × 9.4 in

29. 鉄釉流文鉢 Squared Vessel with Iron Glaze Trailing 28.5 × 28.5 × 6.0 cm 11.2 × 11.2 × 2.4 in

30. 青白磁香炉

Seihakuji Incense Burner 13.5 × 13.5 × 14.5 cm 5.3 × 5.3 × 7.9 in

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Yoshiji Onuki

I have been working with clay for over 38 years, with a belief in a certain firm connection between traditional work and original work in clay. I have started feeling that I can find pleasure with clay in this never-ending pursuit of seeking an answer.

•Workingwithclayover38years.•Numeroussoloshowsandgroupshows.• IncludedinthepermanentcollectionattheBerlin.

Ceramics Museum and Glassi Museum in Leipzig, Germany.

Shigeo Otsuka

I would like to translate my inner landscape into clay form.

•BornandraisedinMashiko.•Workingwithclayover40years.•Hasshowninmanysoloandgroupshows.•Workhasbeenshowninnumerousnationalceramics

competitions.

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13. Sword 30.0 × 30.0 × 80.0 cm 11.8 × 11.8 × 31.50 in

14． Blade 20.0 × 25.0 × 35.0 cm 7.87 × 9.84 × 13.78 in

15. Pagoda 25.0 × 25.0 × 62.0 cm 9.84 × 9.84 × 24.4 in

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31. I-E (D.M) 34.0×16.5×20.5 cm 13.4 x 6.5 x 8 in

32. 赤絵草花文蓋物 Lidded Jar with Over-Glaze Decoration (Aka-e) 25.5×25.5×34.5 cm 9.8 x 9.8 x 13.5 in

33. 刷毛目蓋物 Lidded Container with Brush-Stroke Decoration (Hakeme) 23.5×23.5×19 cm 6.8 x 6.8 x 7.5 in

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Kei Shimaoka Ryo Suzuki

I pour glazes on my pieces using a traditional Japanese ladle, seeking to pour lines with strength, gentleness, speed, rhythm to express a range of thoughts.

•BorninToyota,Aichi,andmovedintoMashiko•Workingwithclayfor47years.• Includedinnumerousnationalceramicscompetitions,

and has won awards•Numeroussoloshows.•Worksincludedintravelingexhibitionsabroad,andin

public collections.

I enjoy working with clay using rope inlay ( Jomon Zogan), which I inherited from my grandfather. Based on this as my foundation, I enjoy using with local Mashiko clay and glaze materials, as they create intriguing results after going through firings.

•BornandraisedinMashiko,thesecondsonofHitoshiFudeya, a traditional Japanese painter, and Yoshiko Fudeya, glass blower who is the eldest daughter of Tatsuzo Shimaoka.

•StudiedunderTatsuzoShimaokaasadisciplefor6years until 2003.

•Workingwithclayover18years.•Sincefinishingapprenticeshipin2003,hasbeen

having steady solo shows.

16. 灰被縄文象嵌壷 Vase with Rope Pattern Inlay (Jomon Zogan) and Natural Ash Glaze Effects 33.6 × 33.6 × 33.0 cm 12.3 × 12.3 × 12 in

17. 灰被縄文象嵌舟型 Boat Vase with Rope Pattern Inlay (Jomon Zogan) and Natural Ash Glaze Effects 16.5 × 10.0 × 22.0H cm 6.50 × 4 × 8.7 in

18. 黒釉耳付扁壷 Altered Black Vase with Ears 14.4 × 9.6 × 19.2 cm 5.66 × 3.8 × 7.5 in

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19. 黒釉流描角長瓶 Long Neck Squared Bottle with Black Glaze Trailing 25.0 × 14.5 × 38.0 cm 9.8x5.7 × 15.o in

20. 黒流描白釉角瓶 Squared Bottle with Black Glaze Trailing Over White Glaze 15.5 × 15.5 × 22.5 cm 6.1 × 6.1 × 8.85 in

21. 青釉流描平壷

Flat Vase with Blue Glaze Trailing 38.0 × 20.5 × 11.0 cm 15 × 7.5 × 4.3 in

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Satoshi Yokoo Additional Information

I keep on stamping flower seal patterns, continuously, at times emptying my mind of all thought. And at moments, I glimpse into myself a bit.

•BorninKyoto,andstudiedceramicsatacollege•Workingwithclayfor42years.•ShowsintheKyoto/Osakaareabeforemovinginto

Mashiko. •Numerousawardsandbothsoloandgroupshows.•Activeparticipantinexchangeshowsandworkshops

with Korean, Chinese, American and European projects.

•ParticipatedintheInternationalWoodFireConferencein Iowa in 2004.

Oregon Potters Associationwww.oregonpotters.orgOPA promotes creativity, excellence and growth through education and cooperative spirit.

OPA, an all-volunteer organization has raised more than $250,000 for the Oregon food Bank(Empty Bowls program) funded over 300 classroom education hours (Clay in Education program), and awarded more than $7,000 to High School scholars as of 2014.

Portland Japanese Gardenwww.japanesegarden.comThe purpose of the Japanese Garden Society of Oregon is to create, maintain, improve, and administer an authentic, world-class Japanese garden in the city of Portland and to offer compatible educational, cultural, artistic, horticultural, environmental, and charitable activities.

Mashiko Ceramics and Arts Associationwww.mca-web.netTatsuzo Shimaoka’s daughter, Yoshiko Fudeya, following the March 11th earthquake, established the Tatsuzo Relief Fund (TRF) to distribute monetary contributions from all over the world. TRF reflects Tatsuzo Shimaoka’s spirit and philosophy of potters and craftspeople joining hands together for peace. Towards the end of 2011, TRF became Mashiko Ceramics and Arts Association (MCAA). By the end of 2012, MCAA gained non-profit status. MCAA’s mission is to support their community and contribute to peace locally and beyond through clay activities.

Regional Arts and Culture CouncilPrinting made possible by a generous grant from RACC

Sponsored by The Oregonian/Oregon Live

This exhibition was organized by the 2015 MCAA Mashiko PotterySpecial Exhibit Committee, 33rd Ceramic Showcase 2015Co-chairs: Ruri, Jenny WatsonGrants: Michelle Gallagher Catalog and Exhibition Graphics: Roberta LampertLogistics: Carolyn Thompson-Rizer, OT MillsapDisplay: Ken Pincus, Brad MildrexlerHospitality: Jeanne Henry

22. 印華文足付平盤 Footed Flat Vessel with Stamp Pattern 49.0 × 49.0 × 9.5 cm 19.3 × 19.3 × 3.7 in

23. 印華文扁壺

Altered Vase with Stamp Pattern On White Background 21.0 × 16.0 × 18.5 cm 8.3x6.3x7.3 in

24. 印華文扁壺　

Altered Vase with Stamp Pattern On Black Background 18.0 × 14,0 × 17.0 cm 7.1 × 5.5 × 6.7 in

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OPA and MCAA: Creating a Bond—Kizuna

In March 2011, the world famous Japanese pottery town of Mashiko sustained indescribable earthquake damage. Most of the 400 wood burning kilns that had climbed the mountainside for generations, gas and electric kilns, and entire studios were destroyed. The Oregon Potters Association, responding to the emotional and practical necessity of helping Mashiko to survive, immediately raised $10,000 by a sale of pottery and monetary donations in support of the village.

Grateful for aid from fellow potters, Mashiko artists wrote, “The helping hand that reached from far across the ocean gave us the strength and courage to rebuild.” Potters in Mashiko found new ways to work together, partly through the example of the Oregon Potters Association. A new art association, Mashiko Ceramics and Arts Association (MCAA), rebuilt studios and a new gallery, MCAA 6Gallery. During this recovery, Mashiko potters generously sent more than 3,000 pieces of ceramic ware for daily use to the Sendai area, in aid of others who had lost absolutely everything.

In October 2012, MCAA invited OPA to participate in the first joint show in the MCAA 6Gallery, titled Bond–Kizuna. Our reciprocal exhibition in Portland, Bond From the West–Kizuna II, showcases the re-emergence of Mashiko from the terrible destruction the village sustained.

Radiation from the Fukushima power plant endures, a destructive legacy of the earthquake. The area’s trees are too contaminated to be burned as fuel for kilns. Potters must have their firewood checked for contamination levels before each firing. OPA honors the potters of Mashiko for their perseverance, strength and positive attitude in the aftermath of destruction.

Spring/Summer Events 2015

May 1–3Bond From the West–KIZUNA II, featuring 33 works from Mashiko Ceramics and Arts Association (MCAA) members. Hosted by OPA Ceramic Showcase 2015 at the Memorial Coliseum, with honored guests from the MCAA, OPA potters celebrate the potters of Mashiko for their perseverance, strength and positive attitude.

June 5–July 6Portland Japanese Garden and OPA present KIZUNA: Rebirth of Mashiko Ceramics, in the Art in the Garden series. This is a rare opportunity to view privately collected works from Mashiko’s past National Living Treasures, Shoji Hamada and Tatsuzo Shimaoka, curated by Diane Durston, Arlene Schnitzer Curator of Culture, Art & Education at the Portland Japanese Garden, with the modern works from MCAA.