Thinking Sideways About the Process = ovie rerada

Some time ago on our first trip to Japan
we were fortunate to get introduced to
Yasuo Terada, the fourth generation of a
pottery family. Our friendship grew, and
his daughter, Orie, became part of our
Jamily when she came over to study English.
A visit here from the whole family was
reciprocated with two months working and
firing with Yasuo. In a country of potters,
Yasuo is incredibly well respected not only
as a as a kiln builder but also as a potter
who, while respecting his Oribe tradition,
pushes artistic boundaries. His son, Teppei
is the fifth generation in the family line, an
option not open to Orie, as a female, Orie
eventually went to Art School in Falmouth,
England where she discovered working with
ideas.

The following has resonance with the
concepts explored by Amy Gogarty on
Relational Ceramics (Northwest Ceramics
Foundation Lecture, June 2008 — See
PGBC Newsletter, September 2008.)
Orie’s piece at right has been left more or
less as it was sent to me. If we were to edit it,
something would be lost in translation...

—Keith Rice-Jones

COLUMBIA

ria as — —_

Orie bringing the atmosphere of the kiln side to the streets of Beijing, August 2006.

he kiln side was the very special

place for me. It was a place where

everybody enjoyed same atmosphere

in the process of the kiln firing. I thought

that the special atmosphere was something I
wanted to create as my art work.

The

communication—came from my background.

theme of my work—food and
I grew up in a potters family which has been
taking over five generation in Seto, where is
famous town for pottery in Japan.

My father is particularly interested in
traditional Japanese wood-firing kiln, and
he restored ancient kilns. He had built more
than 50 wood-firing kilns so far.

I finished my four years apprenticeship of
pottery, and then I flew to England to study
Contemporary Art.

What I had seen in England was completely
new methods for art expression that many
contemporary artists were grouping for.

I also started feeling Japanese elements in
my work strongly after I left Japan.

I became be interested in the characteristic
spirit of Japanese pottery. The spirit links to
other Japanese tradition such as the flower
arrangement, the Noh play, and the tea

with SUZY BIRSTEIN

where Mama Mia was filmed!

Potters Guild of BC Newsletter - September 2009

ceremony.

I had naturally chosen the performance as
the method for my art from my interest of the
Japanese tradition.

My work based on the performance, the
theme is about communication.

In the performance, I make “Rice Ball”
which is one of the traditional food in Japan,
called Onigiri in Japanese.

I bring about 20 of those Onigiri in a bas-
ket, and go to wherever streets to give those to
people who I meet in the street.

I film them eating Onigiri (when they
give me permission for it), and I record the
meetings and conversation with them.

People open their minds, and they show me
nice faces and smiles. That are faces I want to
get for my photos and drawings.

I have seen atmosphere at kiln side since I
was a child. To fire that kind of kiln my father
always needed many people. There were
always lots of people, foods and drinks which
people brought.

Pottery for my father is Clay and Fire.

Pottery for me is the special atmosphere at
the kiln side, which is the ceremonial occasion
of foods and communication,