A conversation with Masashi Nishihata

This time, we visited Sueharugama, owned by Nishihata Tadashi, and had a chance to talk with him.
[Nishihata] → Tadashi Nishihata [Nishimura] → Ichimai Nishimura, Owner of Amagimichi

[Nishimura] Today, I would like to ask you about your thoughts on pottery and your commitment to craftsmanship since you were young. First of all, please tell us about the most busy day in your work.

(Nishihata) The busiest day is when we are making the pottery, the second is when we are applying the glaze, and the third is when we are loading the kiln.

(Nishimura) What is the most common thing you create?

(Nishihata) I usually work from around 9am until around 5pm.

(Nishimura) Has that been going on forever?

(Nishihata) Yes. Of course we take breaks, but we build something one day and then carve it the next day to finish it, and then we repeat the process.

(Nishimura) What do you do when grilling?

[Nishihata] We have a variety of kilns, including two firewood kilns, the anagama kiln and the noborigama kiln, as well as gas kilns and electric kilns.
Climbing kilns last three days, an anagama kiln lasts five days, and gas kilns last about 15 to 20 hours. I fire the kilns while working. I need to check on them about once an hour. With electric kilns, I decide on a firing menu and they fire automatically according to that menu, so it's not time-consuming. I use each one depending on the image I have of the finished piece.

[Nishimura] Are there any differences in the work you do or anything you need to be careful of depending on the season?

[Nishihata] Yes, that's right. Clay dries quickly in summer and winter, so I pay special attention to the drying of the work I'm working on. It has a big impact on the finished product.

[Nishimura] Could you tell us how you have been active as an artist here in Tamba since you were young?

[Nishihata] When I was young, I made pottery as much as I could. In my 20s and 30s, I made a lot of teacups and plates. There was a time when I made 300 teacups a day. I would get information about exhibitions, but it wasn't until I was in my mid-30s that I started thinking about exhibiting my work. In addition to making a lot of pottery every day, I also exhibited my work in public exhibitions and became an artist.

[Nishimura] Was it around that time that you started to become more and more active as an artist?

[Nishihata] Yes, I started to shift my focus to that in my mid-30s.

[Nishimura] Pottery requires advanced techniques to make pieces of the same size. Artistic activities are also possible only because of the foundation of the foundation. Calligraphy and other things require a foundation to create works with a unique flavor, so I think the foundation is really important.

[Nishihata] I think so. By learning the basics well, you can create attractive works that are full of character.

[Nishimura] Are there any difficult parts of the work you're doing now? Anything you're unsure about?

[West end] There's no place to get lost. I haven't gotten lost in the last few years.

[Nishimura] I have one question: have you ever felt like quitting or getting bored?

[Nishihata] No. But I do change my style. I feel that it will continue to change. Every time I fire the kiln, I test new clays and glazes. I think this is the charm of it.

[Nishimura] That's amazing. It's like a calling. It's amazing.

[Nishihata] Because I love it. Whether it sells or not, it's fun. It's rewarding.

[Nishimura] I think the excitement comes when the piece is finished and it turns out different from what you imagined, or even better than you imagined. Because firing is a chemical reaction. I think that when an artist paints a picture, it's all within the realm of control, but I think there is an element of chance in pottery.

[Nishihata] There are coincidences, but even if I fire in a climbing kiln, I have a preconceived idea of ​​how it will fire, so when I load the kiln I can tell to a certain extent how it will fire if I put it here, and how the fire will flow. I control the flames. I can make general predictions.

[Nishimura] Will that work as intended?

[Nishihata] I'll aim. I have to hit 60% or more. The weather when I'm baking, whether it's summer or winter, etc., will have an effect.

[Nishimura] Are there not many coincidences?

[Nishihata] Thirty to forty percent of the work is by chance, but sometimes a very good piece can be made by chance. Glazes are also a complex subject. It is difficult to use and mix glazes in a way that suits their characteristics.

[Nishimura] Are you still conducting research, or perhaps trial and error?

[Nishihata] I do it all the time. I'm currently focusing on straw-glazed ware. I change the firing method and the mixture. It really changes the atmosphere.

[Nishimura] Do you have any hints from the essence of pottery?

[Nishihata] The nature of Tamba. I got my inspiration from the nature of Tamba.

[Nishimura] It's beautiful with four seasons.

[Nishihata] It's very informative to see the mountains, flowers, and seasonal changes.

[Nishimura] Can't go to the city?

[Nishihata] Of course I go out, but this is the only place I make things. I like hiking. I like going for walks. It's also a way to change my mood.

[Nishimura] It's important to build up physical strength when hiking in the mountains. Do you look at the soil when you do this?

[Nishihata] Soil is also a natural product, so we have to look for it in the mountains. It's not easy to find soil. There is a stream in the mountains, and the soil is exposed in the eroded areas on both sides of the stream. By looking at the cliffs, you can see what kind of soil is in what place. There are places where clay has been excavated for a long time, and we narrow down our targets in advance to go and investigate. We are still discovering new places.

[Nishimura] I see.

[Nishihata] Also, talk to local people. For example, if you ask an old person, they will tell you. There is a map on the second floor. It is a map of the old borrow pit. This is also helpful.

[Nishimura] Looking at books and other materials, it seems that they started moving soil locations around the Heian period.

[Nishihata] Yes, that's true. It seems like the borrow pits have changed over the years.

[Nishimura] Bizen seems to be old too, but

[Nishihata] It seems like Bizen is about the same.

[Nishimura] I was surprised to learn that Tamba ware has such a long history. And yet, I think it's interesting that what defines Tamba ware is not limited, and it's difficult to define what it is.

[Nishihata] That's because the raw material is soil, a natural raw material. The soil is slightly different depending on where it is taken from. It makes use of the atmosphere that the soil has. This is true for Bizen, Shigaraki, and Tokoname.

[Nishimura] It seems like firewood is good in Tanba too. They have pine trees that burn well.

[Nishihata] Yes, it is because we live in the mountains. Nowadays, it is difficult to procure pine trees locally. However, we use not only pine but also other woods as fuel. This results in a rich, natural glaze.

[Nishimura] Do you have any plans for what you want to create in the future?

[Nishihata] I intend to continue creating works using straw white glaze. I want to further pursue new straw white glazes. I don't know how many more years I can explore this, but I think that if I combine it with a figurative work, I can create something dynamic.

[Nishimura] I see, I'm looking forward to it. I wish you success. I'm grateful to have had the opportunity to speak with you today despite your busy schedule. Thank you very much.

 

Masashi Nishihata Profile

Born on February 24, 1948. Started making pottery in 1969. 1976. Hyogo Prefectural Exhibition Encouragement Award. 1986. Selected for the Japan Traditional Crafts Exhibition for the first time. 1988. Selected for the Japan Traditional Crafts Exhibition, Japan Traditional Crafts Exhibition, Japan Crafts Association President's Award. 1989. Selected for the Japan Ceramic Art Exhibition, Handon no Kai, Nogawa Memorial Award. 1991. Selected for the Japan Traditional Crafts Exhibition, Selected for the Japan Ceramic Art Exhibition, Grand Prize at the Tea Ceremony Forms Exhibition. 1992. Selected for the Japan Traditional Crafts Exhibition, Tea Ceremony Forms Exhibition, Excellence Award, Hyogo Prefecture Emerging Artist Encouragement Award. Invited to exhibit at the NHK-sponsored Paris-Japanese Ceramics Now 100 Selections, Excellence Award at the Tea Ceremony Forms Exhibition. 1993. Selected for the Japan Traditional Crafts Exhibition, Solo Exhibition at Sogo Hiroshima Store, Kyoto Chemin. 1994. Selected for the Japan Traditional Crafts Exhibition, Solo Exhibition at Nihonbashi Mitsukoshi Main Store. 1995. Selected for the Japan Traditional Crafts Exhibition, Solo Exhibition at Sogo Hiroshima Store. 1996. Selected for the Japan Traditional Crafts Exhibition. Awarded the Excellence Award at the Tea Ceremony Art Exhibition, solo exhibition at Nihonbashi Mitsukoshi Main Store
1997 Encouragement Award at the Tea Ceremony Art Exhibition 1998 Selected for the Japanese Traditional Crafts Exhibition Solo exhibition at Mitsukoshi Nihonbashi Selected for the Japanese Traditional Crafts Exhibition 2000 Solo exhibition at Mitsukoshi Nihonbashi Solo exhibition at Mitsukoshi Fukuoka 2001 Selected for the Japanese Traditional Crafts Exhibition at Gallery Dojima 2002 Solo exhibition at Mitsukoshi Nihonbashi Solo exhibition at Gallery Dojima 2003 Solo exhibition at Santa Fe Touchingston, USA 2004 Father and son exhibition at Sogo Hiroshima store Grand Prize at the Tea Ceremony Art Exhibition 2005 Exhibited at Akashi City Museum of Culture and Hyogo Ceramics Exhibition Purchased Akadobedai, Hyogo Ceramic Art Museum Solo exhibition at Gallery Dojima Mitsukoshi Nihonbashi 2006 Grand Prize at the Tea Ceremony Art Exhibition Selected for the Japanese Traditional Crafts Exhibition at the Museum of Fine Arts, Boston and the Japan Society Gallery of New York Solo exhibition at Takashimaya Yokohama Touchingston, USA Father and son exhibition at Takashimaya Matsuyama 2007 Toshun-kai Exhibition, Sogo Yokohama Encouragement Award at the Tea Ceremony Art Exhibition Selected for the Japanese Traditional Crafts Exhibition 2008 Selected for the Japanese Traditional Crafts Exhibition Solo Exhibition, Yokohama Takashimaya Mitsukoshi Main Store, Santa Fe, Touchingston, USA Toshun-kai Exhibition, Funabashi Seibu Sogo Hiroshima Invited to exhibit at the Japanese Ceramics Exhibition 2009 Solo Exhibition, Gallery Dojima, Sendai Mitsukoshi 2010 Sogo Kobe Exhibited at the Musee Tomo Grand Prize Exhibition, Contemporary Tea Solo Exhibition, Yokohama Takashimaya Touchingston, USA, Santa Fe, 2011 Invited to exhibit at the Japanese Ceramics Exhibition Solo Exhibition, Joan B. Marvis, New York, USA Invited to exhibit at the Japanese Ceramics Exhibition 2013 Exhibited at the Musee Tomo "Contemporary Famous Bowls" Solo Exhibition, Mitsukoshi Main Store, Santa Fe, USA Miyazaki Gallery, Sogo Kobe Chiba Sogo 2014 Solo Exhibition Solo Exhibition, Mitsukoshi Main Store, Santa Fe, USA 2015 Received the Hyogo Prefecture Cultural Award in 2016. Exhibited at Higashihiroshima City Museum of Art for Ceramics that Color Our Lives - Food Wares. Exhibited at Joan B. Marvis' 40th Anniversary Exhibition in 2017 in New York, USA.
Solo Exhibition at Nihonbashi Mitsukoshi Main Store in 2018