Interview with Hajime Kimura

Gen Kimura, a potter based in Toki City, Gifu Prefecture, values ​​the traditions of Mino ware while also exploring new possibilities. At the heart of this is his determination to take over the family business, which has been passed down for six generations, and the deep knowledge he has gained from his daily efforts. We visited Kimura's studio and spoke to him about his passion for creation and his daily efforts.

Kimura's pottery making makes use of natural local materials

If you walk down a narrow alley in a residential area near Tokishi Station, you will come across the Shigeyama Kiln Kinju Pottery Factory. In one corner of the factory where Kimura was born and raised is the workshop where he creates his works, where he finds an electric potter's wheel and a hand-cranked potter's wheel with a removable kick wheel. On the other side of the workshop, glaze materials collected by various methods are lined up in a tightly packed space.

Kimura's works are made using materials grown in the Tono region in southern Gifu Prefecture. In his pursuit of the texture and color of his pottery, he places importance on using natural ash and locally sourced soil.

In particular, for one-of-a-kind pieces such as sake vessels and flower vases, he sometimes digs up soil in the mountains and refines it himself. He also spares no effort in gathering precious materials for ash, such as ashes from his wood stove at home and straw ash handed down from the local community. This passion supports the uniqueness of his works.

"What I aim for is a unique texture that comes from the harmony of the clay and glaze. My ideal pottery has a moist texture that gives off a sense of gentle moisture," says Kimura.

Passion in firing and glazing, the quest for new expressions

Kimura also has a strong commitment to firing. He places importance on "firing the clay thoroughly and slowly dissolving the glaze," and employs a method of firing slowly for a long time using a custom-made kiln made of thick bricks. Taking advantage of the operability of a gas kiln, he creates an environment similar to that of a wood-fired kiln, where the unevenness is not uniform, and he aims for a deep color by clearly separating the parts that require simplification from the parts that require the most effort.

Kimura's creative process is truly a continuous process of trial and error. Ash glazes made from natural ash have different properties depending on the type and part of the wood, so the ash burned will be different each time. As he says , "As long as you use natural materials, the result will be different every time even if you fire it in the same way," even a slight difference in the temperature of the kiln or a difference of just five minutes in the firing time can change the way the glaze melts and its color. For this reason, he tests the process from making the raw materials to mixing the glaze many times, and even then it is still a delicate process that requires a lot of attention to detail.

Kimura says the process, which begins with preparing the raw materials, followed by mixing the glaze, applying the glaze, and then firing, "feels more frightening than exciting." The reason is that you never know the results until they're in. The temperature and environment inside the kiln vary from place to place. Even if the test results are good, and even if you check the color multiple times during firing, the actual piece may not be what you expected. "It's like a game of strikeouts or a home run," Kimura says. While it's possible to substitute more scientific ingredients to stabilize the product, this would end up feeling artificial and not achieving the desired texture. Despite the challenges, he continues to explore new possibilities for expression by repeatedly researching glaze mixing and kiln temperature adjustments.

Starting with zero interest and experience, struggles and growth in pottery

Behind Kimura's decision to pursue a career in pottery lay his conflict and determination regarding the family business. After graduating from university, he considered a different path, but a desire to "not let the family business that has been passed down for five generations end with me" began to grow, and he decided to enter the world of pottery. However, with no experience in pottery and no teacher, Kimura says that at first "I didn't know where to start, and I wasn't particularly interested, so I just went about my work." He says he always felt a sense of inferiority.

A turning point for Kimura came when he came across Momoyama-era Kiseto porcelain at a local exhibition facility. He was strongly attracted to its "moist texture, as if water was seeping out from the surface," and he felt a strong desire to recreate that texture in his own work.

Since deciding to pursue a full-fledged creative career, Kimura has become particular about the texture of the glaze. He pursues shapes that highlight the shades of the glaze and soft shapes that make use of the unique texture of the clay, and his works have evolved from simple shapes to ones incorporating lines and ridges. While still making use of the original wheel marks, adding lines allows the glaze to accumulate in the uneven areas, making the way it flows more appealing. "Especially with double-applied glazes, the color and texture can vary completely depending on the thickness and firing condition. This is the charm of a one-of-a-kind piece," he says.

Kimura places great importance on the meaning of what he does. That is, "If you're turning it on a potter's wheel, the meaning of using it is key, and the shape that brings out the potter's good points." If you're carving out a lump of clay, the shape that brings out the clay's natural expression is key. He uses both his head and his hands to explore whether he can discover something new. This led to the original idea of ​​cutting the finished pot vertically to make a plate, which he then put into practice.

Tradition and innovation in Mino ware: A spirit of exploration in pursuit of new possibilities

In addition to working on creating his own pieces, Kimura is also committed to the development of the local pottery industry and Mino ware as a whole.
"Mino ware ranges from traditional pieces to mass-produced items made using a division of labor, and there is a wide variety of products in a wide range of prices, including porcelain and pottery, so it is difficult to categorize the entire Mino ware industry as a single entity due to its nature. However, with pride in the Mino ware that flourished in the place where I was born and raised, if we could all help each other and continue to make even better products..." says Kimura. Kimura supports the local industry from both his role as a potter who handcrafts Mino ware, and as president of a kiln that handles mass-produced products.

This feeling is also reflected in the names of Kimura's works. The deliberate use of the name "Mino" is a sign of his respect and affection for Mino ware. Kimura's representative works have unique names such as Komino (Old Mino), Rurimino (Lapis Lazuli Mino), and Minomadarama (Mino Spots).

Komino
This work, which is synonymous with Kimura, combines yellow Seto glaze with clay containing iron. It is characterized by its rich color and texture, which makes it look like ironware from a distance.

Ruri Mino
This piece is made by layering an old Mino glaze and a lapis lazuli glaze containing cobalt, and depending on the shade of the old Mino glaze underneath, it can appear yellowish, or black or lapis lazuli in areas where the lapis lazuli glaze is thick, or whitish in areas where it has accumulated. The appeal is that you can enjoy a variety of expressions in a single piece.

Mino spot
This piece is made with straw ash and a glaze similar to Madara Karatsu, and is finished with Mino materials. By firing Mino Madara slowly and carefully, various layers of melted and flowing parts are created, creating a three-dimensional, moist texture.

Kimura's works are completely original, born from a process of trial and error, and show a variety of expressions depending on the amount of iron contained in the clay, differences in the clay particles, and the use of glazes. His spirit of inquiry allows him to balance the traditions of Mino ware with new possibilities.

Passion and hope that illuminate the future of Mino ware

Looking to the future, Kimura aims to create works that pursue even greater depth in "texture."
"There are still so many things I want to try. My mission is to create new forms while working with natural materials and bringing out their charm," says Kimura. His words are filled with the passion and determination to go beyond his own limits.

The moment he encountered Momoyama period Kiseto ware and was struck by its unique texture remains the starting point for Kimura's creations. His unyielding determination towards his ideal breathes life into his expressive works, woven together with earth and fire.

Kimura's passion not only breathes new life into the tradition of Mino ware, but also represents a ray of hope that will pave the way for its future. And with the heart-pounding emotion he felt that day in his heart, he will continue to take on new challenges.

(November 2024, Interview: Chika Shimura)