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• Hiiro Shino — This piece by Hori Toshiro, a master of Mino ware, exemplifies the refined warmth of Shino, Japan’s first white glaze. Bold yet delicate crackles in the glaze surface branch softly across the piece, creating a dialogue of color between the pearly-white Shino glaze and the clay’s flame-like hue of hiiro. Both concealing and revealing, it shows Hori’s skill in balancing technical control with the chance variation born of natural forces. Shino is a feldspar-based glaze that contracts more than the clay body underneath, resulting in its distinctive kairagi, or “plum-blossom skin,” texture. This particular piece was fired for three days in a traditional anagama kiln, a tunnel-like wood-fired kiln used in Japan for 1,600 years. Interactions between iron in the clay, the kiln’s strong reduction environment, and an iron-rich sheath placed around the vessel during firing are what generated the orange-red color that shows through the crackles. This piece was formed from local mogusa and gotomaki clays in equal parts, a high ratio of mogusa. Named after moxibustion herbs for its texture, mogusa clay is highly difficult to work with, but has a fluffy quality akin to ceramics from the Azuchi-Momoyama period (1573–1603 CE). The base is left unglazed, a style called tsuchimise, or “showing the earth,” which reveals this particular clay’s soft, organic quality. Imperfectly cylindrical, the vessel’s subtle dips and curves allow it to nestle gently in the palms, the thick glaze giving a soft, lush feel. Each turn reveals a new surface landscape, rewarding repeated viewing. The viewer thus becomes part of the story of this work of art, one that is not just historically significant, but also creates a bridge into the future.
• Oribe Peaks — Iga ware artist Fukushima Kazuhiro explores new ground in this Oribe piece with a two-peaked form. Existing as an objet d’art, Fukushima crafted this piece with the intention of creating something that feels pleasant just to have by one’s side. This piece contrasts a rough, textural surface with the sculptural rim, as if a slice of earth had been carefully carved away. It harmonizes with the landscape of clay, interrupting without being abrupt, adding a geometrical aspect to a piece that otherwise seems to flow organically. The faceted surface deepens this sense of movement, creating a dynamic form that reveals new scenery with every repeated look. Four types of layered glaze run and nestle in the textured ridges, rough clay revealed beside glossy rivulets to suggest the way organic forces of life act upon a landscape. Blue glaze settles softly in the interior, like looking into a mountain pool. Small pinholes known as ishihaze appear where stones within the clay body have risen to the surface, celebrating rather than hiding the expressiveness of the material itself. The result is a vessel at the precipice of the avant-garde, one that goes beyond conventional ideas. While grounded in the materials and techniques of Iga ware, Fukushima thus creates something that invites new inquiries into purpose and artistic expression.
• Sazameku Green — This piece is a hand-built creation that brings together the refined craftsmanship and artistic sensibility characteristic of Kutani ware. Its surface shimmers with glassy Japanese pigments that evoke the energy and movement of ocean spray. This piece features a bold, sculptural surface that recalls the moment when waves crash against the shoreline. Layers of green, white, and gold glazes are applied in sequence, each one adding depth and soft translucence to the overall form. A highlight of this piece is the yudare—the natural flow of glaze that occurs during firing. Just before reaching the base, the glaze halts, leaving a trace that feels at once spontaneous and intentional. This expressive detail is achieved through precise control of heat and glaze density: an intersection where the artist’s intention meets the unpredictable nature of fire and material. The glaze patterns vary subtly with each piece, making every work truly one of a kind. Its title, sazameku (rippling), alludes to the quiet presence of waves, while inviting personal interpretation. Depending on the light and angle, its appearance shifts. The surface feels textured like stone, while the gold accents glow with understated elegance. When turned upside down, the form recalls a sharp ridgeline rising into the sky.
• Shoebill Mug — Crafted from soft white porcelain, this mug features the striking silhouette of the shoebill, its gentle, muted hues achieved through the technique of Japanese paper dyeing known as washi-zome. Because each bird is meticulously painted by hand, no two expressions are identical. This individual artistry ensures that every mug possesses its own endearing personality, making your piece a truly singular companion for daily rituals. The design is elevated by delicate gold stippling—shimmering metallic accents applied to the bird’s head, torso, and feet. These subtle details catch the light as you lift the cup, adding a refined luster that enhances the illustration’s quiet charm. Beyond its beauty, the mug is thoughtfully designed for everyday enjoyment. It offers a generous capacity for your favorite beverages and features an ergonomically shaped handle for a secure, comfortable grip. Let the shoebill’s gentle gaze bring a sense of tranquility to your teatime. Whether as a treat for yourself or a thoughtful gift for someone special, this mug offers a graceful balance of artistry and function.

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