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Welcome to the official site of Takeshi Yasuda.
A masterly thrower who combines Japanese tradition with a very personal attitude to the making of functional ceramics in stoneware, high fired earthenware, and porcelain.
Introduction by David Hamilton:
When I was a young art school student in Bradford I remember a painting tutor commenting when he saw me with a copy of A Farewell to Arms, 'What wouldn't I give to be 18 again and reading Hemingway for the first time.' In this remark lay the promise for me of delights and thrills to come. I feel the same way about the prospect of someone coming to Takeshi Yasuda's work for the first time: the material presence, the way it is thrown and shaped and the sensuality of the formal language are to be physically experienced, handled if possible and then contemplated at leisure.
Takeshi Yasuda is a Japanese potter who was born in Tokyo, Japan in 1943. Yasuda trained at the Daisei-Gama Pottery in Mashiko from 1963 to 1966 and established his first studio there. His early work consisted of ash-glazed stoneware, after which he explored Sancai and Creamware. Most recently Yasuda has been working with celadon-glazed porcelain.
Yasuda settled in Britain in 1973. He has taught at various art schools and universities across the United Kingdom and was Professor of Applied Arts at the University of Ulster. From 2005 until 2010 Yasuda served as Director of the Pottery Workshop in Jingdezhen, China, after which he established his own studio in the Jingdezhen Sculpture Factory.
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Creamware is an English white ware that was most fashionable at the time of the industrial revolution. It was made widely around Stoke-on-Trent by many factories including Wedgwood. Wedgwood marketed their version as Queensware after the patronage of Queen Anne. The white clay body that became available at the time was bisque fired to around 1150deg C and glaze fired to 1050deg C. It was a fashion that did not last very long and soon it was largely forgotten. The term 'Creamware' was coined by the antique trade much later.
My creamware used porcelain clay as the body instead of a white earthenware clay to enhance the brilliance of the glaze colour, and was bisque fired to 980deg C for the ease of thick glazing in order to get a mellow juiciness from the glaze. It was then glaze fired to Orton cone 01 to obtain a strength of body.
'Unfolding' series: These forms are collapsed on the wheel, then hung upside down to stretch them back as tehy dry.
'Folding' series: This could also be called 'slumping', like the glass-forming technique. Porcelain deforms quite a lot during the firing. Through the ages all manner of techniques have been employed to stop deforming.
Potters form clay when it is plastic. Clay is plastic when it is mixed with water but then becomes plastic again when heated in the kiln. Ceramic engineers call this quality pyro-plasticity. The 'folding' pieces use this pyro-plasticity for forming. The 'unfolding' pieces use hydro-plasticity. In both cases the Earth's gravity - the deforming force - acts to 'form'.
I nudge the Earth's gravity a little to 'deform' clay just a bit further..
All images on this site (C) 2008 Takeshi Yasuda. All Rights Reserved.