These three views offer special insights into the craftsmanship of ceramics, each view so individual but also connected. The works have been selected and displayed by Ron Kong to coincide with the 5th Triennial Canadian Clay Symposium being held on March 13 at the Shadbolt Centre for the Arts in Burnaby. This event brings national and international artists and speakers to share their expertise with students and professionals in the ceramic arts. Ron Kong is Circle Craft’s store manager and, to very aspect of his work, he brings the integrity of his knowledge, experience, and love of the craftsmanship inherent in human hands. This month the hands have drawn clay from the earth to form works that speak individually not only of the skill but also of the truthfulness of the heart in resonance with the culture, place, and purpose of their lives. I am happy that my guest this month is Ron Kong, who writes:

“Since the early 20th century, Asian aesthetics and potters’ traditions have been part of the ceramic arts in North America. Reverence for nature, practicing the art of tea, and Zen philosophy are three obvious influences. Cathi Jefferson, Kinichi Shigeno, and Junichi Tanaka are three British Columbia ceramic artists whose work has an affinity to Asian ceramics while strongly maintaining a uniqueness and individuality, which speaks of the maker. Circle Craft is proud to present the work of these three ceramic artists, also members of the Circle Craft Co-operative in honour of the 2010 Canadian Clay symposium. 

Working in Porcelain, Cathi Jefferson references forms related to ‘tea’ and other uses. Her high fired works, mostly salt glazed, are a blend of Eastern and Western aesthetics.  Her direct and bold manipulation of clay results in fresh works that have movement and vitality. Her various plant and leaf patterns also echo Japanese wares with decorative motifs taken from nature.

Kinichi Shigeno works in both porcelain and stoneware, creating visually explosive pieces.  His decorating technique, involving under glaze decoration in cobalt, with overgraze decoration in coloured enamels and metallic lustres necessitate multiple firings, and have a direct connection to a traditional Japanese technique known as ‘Uwae’. 

Junich Tanaka, working in stoneware, pays tribute to nature, and his experiences climbing mountains. His forms, and brushwork are indicative of classic ceramic shapes resulting in pieces that are at once subtle and bold. References to mountains, and his signature ‘puffer fish’ teapot illustrate his interest and reverence to the nature.”

Ron’s clear, simple insight made me conscious of the energy in our show. We live in an unceasing interplay of energies in which the creation of order in just one part automatically benefits the whole. It is a gift which every craftsperson offers.

Cathi Jefferson has spent nearly thirty-five years refining the magical process of salt-glazed stoneware. The pots are placed in the kiln, which is heated to a high degree before the salt is added to vaporize randomly over the surface of each pot. Cathi has always known she was meant to be a potter, something she not only loves to do, but, she explains, “because it gives me a deep connection with the fathomless energy and beauty of nature.” Japanese art reflects this connection, and Cathi is deeply affected by the simplicity and strength in the line and form of Japanese work. She writes, “Their work gets inside me, each piece so right, so connected with nature, each piece so different, earthy, beautiful, magical.”

Kinichi Shigeno was a serious potter from the start. He majored in ceramic design at the Ceramic Training School in Seto, apprenticed with a master potter for seven years, and then began work in a ceramic factory. It was here, when he was twenty-seven, that a wealthy businessman proposed setting up a ceramic factory in Vancouver and invited Kinichi to be its manager. On arrival in Vancouver, Kinichi was instructed to survey the prospects and a possible place for a factory. A good idea except Kinichi did not speak English – and this was important when the businessman decided Vancouver wouldn’t work and returned to Japan, inexplicably leaving Kinichi in Vancouver without money or a plane ticket home. Kinichi stayed, found a small factory in North Vancouver to do his own work at night, and, in time, made a name for himself far beyond British Columbia.The strength and simplicity that Cathi finds in the Japanese aesthetic is right there in Kinichi’s work, perhaps reflecting a cultural belief that the obstacles life puts in our way can be overcome. His work flourishes on all kinds of experiment, often with humour, like the shoes that are teapots. But always there are the birds. In this show is a big, beautiful bowl from which tiny birds rise up around the inner surface, growing larger as they reach the top – surely to fly out and away into the sky.

Junichi Tanaka, born in Japan in 1952, learned the art of ceramics at the University of Montana from 1989 to 1993. In 1996/97, he explored his lyricism as the Artist in Residence at the Contemporary Crafts Association in Portland, Oregon. The list of workshops, shows, and awards continue until 1998, when he came to Canada, and established his ceramics studio in Whonnock, BC. Junichi’s enjoyment of ceramics goes back to childhood, but ceramics is not the only passion in his life. Between 1977 to 1988, Junichi climbed six major mountains. He very nearly reached the top of Mount Everest but had to turn back when his partner‘s sight was seriously affected. Junichi is also a poet. His lovely poem ends our comments.

In the Forest
Absorbing the breath
Of swaying trees
I wedge the clay
This clay seldom talks

Once on a Halloween night
You made a boy sad
Not the fancy chocolates
Of all kinds
But the brown pots of
Various stages he found

You are stubborn
Inedible sweet
Though
I respect the silence
And wait patiently
For the voice of earth
Coming through my palms

Crossing the rustling forest
Leaving the memories
Of our journey
Let us go now

Thelma Ruck Keene