縄文展
JOMON

2018.07.29

暑い日差しの中、上野の東京国立博物館で開催している縄文展に行ってきました。
約1万3千年前も前から人々は利便性だけでなく、「美しさ」を求めていたのだとあらためて感動を覚えました。
教科書の中の知識ではなく、実物が目の前にあるというのは大きいです。
中でも様々な器や煮炊きに使われていたのでは、とされる道具は食い入るように見てしまいました。土をこねて形を作るまではわかるのですが、それを高温で焼いてみる、ということがなぜ当時の人々に出来たのか?模様をつけたり、漆を塗ったり、とても文化的にも高度な暮らしをしていたのだと想像すると、親近感が湧いてきます。
また、数ある縄文出土品の中でも国宝の6件全てが揃うこの展示会(時期は分けられて展示)、特に土偶好きにはおすすめです。
世界の土器との比較展示も興味深かったです。そして「祈り」に焦点を当てた展示コーナーには小さな赤ん坊を抱いた置物など、初めて目にしたものもあり、「アート」という視点で縄文文化を追うことのできるバラエティに富んだ見応えのある展覧会でした。
「縄文特別展 1万年の美の鼓動」
2018年9月2日(日)まで
東京国立博物館(平成館)

I went to the JOMON exhibition at Tokyo National Museum in Ueno.
Sometimes I feel much more interesting to learn something in my age. I was studying Japanese history when I was a teenager just for the test. But now, learning historical thing is more interesting!
Under the theme of “Jomon Beauty,” this exhibition presents outstanding works of art created in diverse regions of the Japanese archipelago from the beginning to the end of the Jomon period, shedding light on the techniques with which these works were created and the spirit imbued in them.
“JOMON 10,000 Years of Prehistoric Art in Japan”
Until September 2, 2018(Sun.) at Tokyo International Museum (Heiseikan)
   

 

 


梅仕事
Plum Season

2018.06.23

梅の季節ですね。
この時期は季節のものを見かけると、つい買わずにはいられず・・・手仕事に忙しくなるわけです。
先日作った青梅の蜜煮。ゆっくり味を含ませていましたが、甘みが良い具合になってきました。
梅雨のジメジメした時期も、爽やかにしてくれる梅の香りがたまりません。

縫い針を使って表面を刺した梅を、銅鍋でゆっくり静かに火を入れ、しばらく水の中でアクを抜きます。
鍋に砂糖を溶かし冷ました中に梅を静かに入れ、数日かけて甘みを含ませていきます。
そろりそろり、と梅を扱っても皮が破れてしまいました・・・
見た目はいまひとつですが・・・でも夏の味は十分楽しめるので、また来年頑張るぞぅ。

You can find several kinds of plums in this season. Here are “Aoume”, green plum for the beginning of Ume season. I made plum compote. Prick the surface of a plum with a needle first. And then, Simmered for an hour gently over low heat and dipped into the water for a day to remove harshness.  Dipped in sugared water for a couple of days. The point is use copper or enamel pot to keep their color of green. Chill the plum compote in the refrigerator before serving.
      


Instagram始めました!
Started Instagram!

2018.05.31

遅ればせながら、すこ〜しずつインスタグラムを始めました。
良かったらご覧ください〜
LOCCAのお知らせの他に、日々の事なども載せてます!
Instagramページはこちらをクリック


We started Instagram!
Please check and follow our page if you like 😀
Click here for the Instagram page


2018 益子春の陶器市
Mashiko Pottery Fair in Spring 2018

2018.04.30

恒例の益子陶器市に行ってきました!
今回は電車移動。徐々に車窓から見える風景も変わり、新緑や水を張ったばかりの田んぼに癒されながら益子町に到着。

前回美味しさに感激しまた食べたい!と切望していた「秋津」さんの汁なし担々麺で先ずは腹ごしらえ。満足、満足とお腹を膨らまし、城内坂へ向かいます。
How’s your Golden Week going?
I went to “Mashiko Pottery Fair” in Tochigi prefecture.

LOCCAでお世話になっている作家さんたちを訪ねて回ります。みなさん口々に「今日は暑いね〜」と言うくらいこの日は気温が上がりました。でも夏と違って湿気が低いので日陰はとっても爽やか。レジャーシートを広げて寛ぐ人たちも沢山いらっしゃいました。
I visited some potters and craft makers, say hello to them. It was really hot day but trees are so beautiful, clear blue sky and I felt very refreshed.

遺跡広場の平松祐子さんのテント。まわりの緑に白い磁器が映えます。
Yuko Hiramatsu in Iseki Hiroba. White porcelain plates and flower vases.

同じく遺跡広場の木工房玄。陶器市ならではのお値打ち品も!
Also “Mokkobo Gen” in Iseki Hiroba. Don’t for get to check special sale!

「くみあい広場」の寺村光輔さん。初日のお昼過ぎにうかがったのですが、すでに品薄・・・。でも一度使うとその良さにリピーターが多いのも頷けます。
Kousuke Teramura in Kumiai Hiroba. Always crowded his tent!

寺村さんのテントからすぐそば、イアン・ヘイデンさん。工房のある日光から運んだというツツジが作品に彩りをプラスしています。1点ものが多いですが、それぞれの木の持つ美しさにため息が出ます。
Ian Hayden, wood turning artist located near from Teramura san’s tent.  Basically each piece is unique. Find your favorite one 😀

くみあい広場を出た道路沿いに田代倫章さんのテントがあります。釉薬と造形の美しさがなんとも言えず好きなんですよね。。
Toshifumi Tashiro. His tent located along with main street. I love their stylish shape and beautiful graze.

このほか、今年は後半在店とのことだった机上工芸舎さんも「ギャラリー陶のね前」で出店されていますので、ぜひお立ち寄りください!
Kijou Kougeisha located in front of Gallery Tounone. He will be there in the later half of GW.

それにしても毎回見切れないほど出店数が多い!作家さんと直接お話しできたり、美味しいものを食べたり、自然に癒されたり、色々な楽しみ方ができる陶器市。ぜひお気に入りの器を探しに行ってみてください。普段の食事がうつわ一つで変わりますよ!
春の益子陶器市は5月6日(日)まで開催中!
They are holding the event until May 6 (Sun.). I hope you’ll enjoy your Golden Week vacation!

 


Artist Interview with Norio Yuasa, Kijou Kougeisha
(part2 English)

2018.04.21

I had conducted an interview with Norio Yuasa, who has been making metalworks at a workshop in Funabashi, Chiba prefecture.

○What made you start getting interested in craft works?
I wasn’t interested in craft, but I liked metals since I was a child. Specially, I liked metallic luster.

○Did you have any experience that you made the basis for your metal works now?
I had never thought that I am going to be an artist when I was young, but I enjoyed art class at junior high school. My art teacher had a kind unique style of education and he gave a grade to my performance (quality), not for effort.
I also have another story. Before graduated from high school, I had a part time job to save money for traveling to Hokkaido, mainly and I did it by bicycle after graduated from high school. I had begun to think that I wanted to study metals at a college in the middle of a trip. One day, I dropped by a bookstore and I read an article about a man who made a small bicycle used brazen rods and made me think to study metals more often.

○Please tell me about lineup of your works.
I have been making cutlery from the beginning. I think the most familiar metal is cutlery for people. And I want my customers to put my cutlery in their daily life. But my cutlery didn’t sell as expected.

○What did you think that your cutlery didn’t sell as you expected?
I thought that the price didn’t fit (a little expensive) to users at that time but I didn’t worry much. Cutlery is one of the commonly used tool for us. So, there is no use making if people don’t use it. I researched and tried to reduce the cost. I had confidence that my cutlery was good quality and lower price in comparison to others but didn’t sell much. I think I was learning how difficult to making the “tools”.
○Could you tell me what made you start making a free palate (pan) after the cutlery?
Actually, I didn’t feel that I started to make something new, but I just thought a free plate/pan was also one of commonly use tool and easy to get into our daily life.

○You are also making various stainless plates. Do you want to make more variation of those plates?
Yes. I think metal plates can be given an accent on your table. So, I am consciously making those plates considering the size or shape.

○What would you like to try with your work in the future?
I would make more stainless products. I want to contribute to making reasons for people who are resistant to use metalworks to come to like metal products.

○Finally, what do you want people to think about your works?
I wish that my metal products to rise in value after someone bought my products. When someone bought my products is not “best” time for the products, but products improve with use. There is the meaning to become special for somebody, and there is also the meaning of a material becomes shiny and beautiful. I would be very happy if my customer uses my product often/ whatever they like, and it becomes valuable things for them. In a sense, I’m stealing the possibility of materials and making a thing. Thus, I strongly think “value” or “precious” to my works.

After the interview, he showed us how to make a metal plate with a sample at their workshop.

 
Cut round from the iron plate.

Forgings (method for producing metal product having fine crystallized) by hammer to giving them strength and making the shape.

Surface treatment with a grinder


Quenching process (sample) using a small burner.

Heat a plate over medium-high heat until the smoke rises. Spreading vegetable oil such as the olive oil on the surface of the plate.


Heat again until the smoke rises.


You can see the changing the color of the surface.


And repeat above process several times, you can find the familiar black color of pan…1.Seizure vegetable oil and 2. Oxidative polymerization…and 3. Oxidative polymerization the oil

 

Thank you very much, Yuasa san!
He will participate in Mashiko Pottery Fair start from April 28(Sat.) to May 6(Sun.).


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