Open Space

I would like to share with you photos
of some pieces that were made by special fellows:

Estela Miyauchi - Gas Kiln - 1300ºC

Iweth Kusano - Gas Kiln, 1300ºC

Cibele Nakamura, eletric kiln, 1240ºC

Cibele Krukoski, Eletric Kiln, 1200ºC

Finished Mugs

Farias clay, fired on eletric kiln, 1260ºC.

Mugs in Process II

Sixth edition of "O prato é seu!"

Six years ago, the renowned ceramist Lucia Ramenzoni created,

and still coordinates, the event known as " O Prato é seu!" (The plate is yours).
Lucia and another dear potter, Louise Deroualle (responsible for producing the event), always encourage the participation of fellow potters. In its sixth edition, the event is in support of the entity Estrela Nova, a Community Movement in Campo Limpo, district of São Paulo city.
I was pleased to be able to donate some of my square plates.
I would like to thank the opportunity and to all who contribute to initiatives like this.
Congratulations to all sponsors.
I must not forget to mention and hightlight the participation of Mr. Shugo Izumi,
who between 2007 and 2008, was recognized by the Japanese government as one
of the world's best ceramists, as the ABMT site says. He lives and produces
in Atibaia city - São Paulo.

Bedtime tea

Handbuilt, 1300ºC, gas kiln.

We had a full family weekend,
and this tea-pot had the opportunity to "listen" again some more
stories from the older relatives, on my kitchen table.
Things like this make it so special to me.
I did this piece with the orientation of my dear master Estela Miyauchi.
It was my first handbuit tea-pot made 5 years ago, and it is still in use.

Before and after

8,2" height x 5,1"diameter /21 cm altura x 13 cm diâmetro
Handbuilt on manual wheel, anagama, 1300º.

Kenjiro Ikoma - A pionner.

Kenjiro Ikoma Sensei was born in Mie, Japan.
He came to Brazil after de second world war, with almost 30 y.o.
The first Anagama Kiln in Brazil was made by Ikoma Sensei,
with his own hands, in the early eighties.
His criativity has no limits and besides the pottery, he continuously
teach me to look for simple solutions for the most difficult problems.
Ikoma Sensei has my admiration and respect as an artist, a Master
and specially as a human being. He is always a great inspiration for me.

Kenjiro Ikoma Sensei nasceu em Mie, Japão.
Ele veio para o Brasil a aproximadamente 30 anos atrás,
depois da segunda gerra mundial,
.O primeiro forno anagama no Brasil foi feito por Ikoma Sensei,
com suas próprias mãos, no início dos anos oitenta.
A criatividade dele não tem limites, e além da cerâmica, ele sempre me ensina a buscar soluções simples mesmo para os problemas difíceis.
Ikoma Sensei tem minha admiração e respeito, como artista, como Mestre e especialmente como ser humano. Para mim, ele é uma grande inspiração sempre.

The first anagama by Ikoma Sensei.

The current anagama kiln.

Great time!

During this week, I meet my friend Vicente Cardia.
Together, we unpacked the last Vicente´s bicuit fire.
During the afternoon, we exchange some ideas
and impressions about his new test glazes.
I enjoy to talk to Vicente, we are always sharing informations. And I feel on him
the same pottery passion that I belive it's necessary in our work.

Flowers for my visitors!

Handbuilt, anagama kiln, 1300ºC.

I would like to thank all the visitors and specially the supporting comments.
It is encouraging to experience the challenges of pottery.
I'm not good with flower arranging, but today I decided to take a risk, and decorate the blog.

P.S. - I would like to know what my friend and ceramist
Iweth Kusano (also an ikebana master) ,
think about this... ;-)))

First pieces

From my wheel student in Vinhedo, Eunice Okabe. Congratulations Eunice!

Foto by Eunice Okabe.

Enjoying the good weather

The weather forecast says the temperature will drop down, but
today is still pleasant, 24 º C. I trimmed some pieces,
did some slipware aplications and put them to dry.
I´m not sure if this lids will work well... Let's see...

André, thanks for the photos!

Unpacking the biscuit ;-)

My kiln is a small Stecno, but paking gently it can handle the job.

Some Plates from Square Series

Today...Mugs in process!

Recife Airport

When I was coming back to São Paulo, I had the opportunity to register this big wall panel with scenes from northeastern Brazil, made by Francisco Brennand.
It's in Recife Airport 1st floor, near the departure gate.

Oficina Francisco Brennand

I just arrived from a trip to Recife, my home city, and I would like to share
with you the artwork of Francisco Brennand, a sculptor that uses ceramic
as a way to express his art. Brennand artwork reflects his vast culture and
wide interest in multiple visions. The Brennand workshop is huge.
It is settled in the old family pottery factory, wich I remember from my
childhood. It is very different now and I can assure you that he worked hard.
He walks through sexuality, fauna and flora, mythology, big heads,
and tragic women themes. If you intend to go to Recife, take some time to visit "Oficina Brennand"; (www.brennand.com.br). It is a must see tour.

Mixed Slips

At this experience, we mixed in a 50%/50% proportion, various clay slips.
The test bodies was biscuit fired (900° C) before the application.
A coating of clear glaze was applied on the lower part of slip application.
The first row was fired in an electric kiln, 1250° C.
The second row was fired in gas kiln, 1350°C.
In both cases we had nice results. No problems during drying or
firing them, and no unbounded slips.
Using the results, we can now, change the clay color surfaces, satisfing my students. :-)

Sossô, prá vc :
Aqui são misturas de engobes naturais (meio a meio) aplicados no biscoito! E depois esmaltamos com vidrado transparente na parte inferior da plaquinha, só para ver como ficava. Todos funcionaram bem, nada descolou. A intenção era ter uma opção, um recurso, para alterar as cores dos corpos cerâmicos que não prentedemos esmaltar. Principalmente para queimas no forno elétrico, quando nem sempre conseguimos uma cor de argila que nos agrade. Assim minhas alunas ficaram mais satisfeitas. Com mais alguns testes, conseguimos resultados especiais, que fazem lembrar a queima a lenha ou mesmo a gás! ;-) Simples não é?

Slips

Here we have some slip applications, applied on "Farias/TecnoArte" white clay, in hard leather.

1. Creme clay slip, from "Paschoal Massas Cerâmicas" Sao Paulo-SP
2. Red clay slip, from "Massas São Camilo", Itu-SP
3. Terracota slip, from "Eder Rezende" , Vinhedo- SP; (local supplier)
4. Tabaco slip, from "Paschoal Massas Cerâmicas", Sao Paulo-SP
5. White clay slip, from "Farias/TecnoArte", Sao Paulo- SP
6. Porcelain slip, from "PSH", Canada
7. Porcelain slip, from "Paschoal Massas Cerâmicas" Sao Paulo-SP
8. Brazilian Ball Clay slip, São Simão.

Porcelain from Paschoal (7) and São Simão(8) peal off...

The upper line of tests was fired using an eletric kiln at 1260ºC
The bottom line of tests was fired in a gas kiln at 1300ºC

Target Hit

From last firing (eletric kiln).
Plate with translucid glaze and slipwarwe.
27 cm (or app 10.6") diam. 1250ºC (2.282ºF)

Sunday Lunch

I was in the studio, trimming some pieces, when I listened the calling of my fellows.
The Marmosets (saguis de tufo preto e saguis de tufo branco) came for lunch time.
They are curious, but they have a very suspicious nature too, we established a trusting relationship, and they come to pick the bananas and persimmons they love so much. Today I decided to take some shots from them.

Bezel by me ;-)

Ceramic jewelry in silver bezel (made by me!) , special detail in Swarovski crystal.
Done at Cecilia Pardini Atelier.

A perfect match: Pottery and Social Responsability

Every year, Hideko Honma, a Brazilian ceramist, organize a charity

event with Grant Hyatt- São Paulo partnership, called Sukiyaki do Bem.
All the Hideko Honma´s Atelier is involved on it, and her students are invited to create utswa (plates) projects. These plates are exhibited during the event and the guests/ benefactors can choose one as a gift.

Hideko Honma students: Massumi, Terezinha, Mariléia, Magali, Heloisa, Michio, Lilian e Ana Elisa.

The event is in it's 4th edition. Students from hand building pottery classes also participated.



Sukiyaki do Bem is a huge event, formatted as a cultural dinner at Hyatt, with artistic shows that vary from year to year. This time, we had the japanese singer Mariko Kanashiro; musical shows with shakuhachi, koto and a great taiko drums performance.

The Chefs Adriano Kanashiro, Shin Koike, Laurent Grolleau and Erika Okazaki
were responsible for the marvelous sukiyaki and patisserie, all served
on the beautiful Hideko Honma pottery.

Iweth Kusano, thank you by the photos!

Join flavors, colors and forms, to benefit institutions like
Ikoi-No-Sono dedicated to elderly people,
and Casa Tiaminho, that help needy children.

Famous Chefs like Alex Atalla, Bella Masano, Charlô Whately, Emmanuel Bassoleil, Erick Jacquim, Jun Sakamoto, Morena Leite, Shin Koike, Tatiana Cardoso, Tsuyoshi Murakami and Viko Tangoda were invited to create interventions and sign pottery plates in leather hard. Later, these plates were fired by Hideko Honma and auctioned during the event.


As a Brazilian popular saying, " There is always perfum in a hand that offers flowers", in these case, there is pottery in a generous hand. At the end, all the guests receive the utsuwa previously chosen and a special one, made and signed by Hideko Honma.

Hideko Honma at center with her pottery students.



At the end were offered native seedling trees (Mahogany, Ipê, Jatoba, etc) .
This is another social responsability action heading the environmental care.

I would like to thank all the guests, attendees , sponsors, Chefs
and Hideko Honma Sensei.
It was a pleasure to be there once again.
See you next year!

To see more visit: http://rainhaso.blogspot.com/ and http://chacomarroz.blogspot.com/

Plates warmed by the waves

Eletric fire, hand build on manual wheel and slipware detail.

Imitation of Water

João Cabral de Mello Neto (*)

Translated by Ashley Brown

On the sheet, on your side,

already so marine a scene,

you were looking like a wave

lying down on the beach.

A wave that was stopping

or better: that was refraining;

that would contain a moment

its murmur of liquid leaves.

A wave that was stopping

at that precise hour

when the eyelid of the wave

drops over its own pupil.

A wave that was stopping

in breaking, interrupted,

would stop itself, immobile,

at the height of its crest

and would make itself a mountain

(being horizontal and fixed)

but in becoming a mountain

would yet continue to be water.

A wave that would keep,

in a seashore bed, finite,

the nature without end

that it shares with the sea,

and in its immobility,

guessed to be precarious,

the gift of overflowing

that makes the waters feminine,

and the climate of deep waters,

that shadowy intimacy,

and a certain full embrace

you copy from the liquids.

(*) João Cabral was a brazilian poet from my city, Recife. He published his first book Pedra do Sono (Stone of the Sleep) in 1942. He joined the Diplomatic Service in 1947, and was sent to Barcelona, where he lived for many years. His poetry contains many images of the social conditions of the northeastern region of Brazil, where he grew up. He is generally considered the most important poet of the post-war generation.

Would you like some coffe?

This is an iron glaze, I made it last year, for coffe cup sets.

Foto from Claudia Rumi (http://chacomarroz.blogspot.com/)

First step of a journey...

The main ideia for this blog is to register my work and my experimentation in pottery.

Also, I hope the blog can help me listen different points of view,
to make new contacts and improve my English. ;-)
(Photo: Anagama firing, handbuilt.)

A idéia deste blog é registrar meu trabalho e minhas experiências na cerâmica. Espero assim ouvir diferentes pontos de vista, fazer contatos e melhorar inglês.

Outrar-se

 

Profa. Estela Miyauchi e eu durante aula.

 Título da Série:

 Outro Pote

 

 Poesia:

 Sempre o mesmo rio, um outro.

Outro pote, o mesmo...

O mesmo... o Outro...

Outrar-se.

 Por Estela Miyauchi

Estela Miyauchi é professora de literatura, ceramista há dez anos e pesquisadora dos vidrados cerâmicos. Esta ceramista em constante movimento, faz referência ao rio de Heráclito, o tempo como processo irreversível. Na Literatura, Jorge Luis Borges em seu conto “O Outro” se reencontra com ele mesmo. 

Estela diz que "meu “ Outro pote” trava o diálogo da permanência na temporalidade. O que se repete parece não ser o mesmo, mas o que precisa se repetir a todo instante para que um pote (ou um ser) possa se reconhecer como tal, apesar da mudanças, apesar de continuar sendo “o mesmo”? Questionamentos de uma artista que quanto mais faz, mais aprende."