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READ / ichijo-toma “Teshigoto no Ma” The Poem of Glaze

读物 / 一畳十間「手作之间」 —— 釉药之诗

2025.10.15

一畳十間主办的「手作之间」是一项在 gallery 一畳十間 举办的合作企划,邀请那些持续创作、为日常生活带来创造性与温度的手工艺作家共同参与。空间与作品在这里相互共鸣,为来访者带来滋养心灵与身体的美好时光。

这次的合作对象是陶艺家新见麻纱子女士。她的作品在与陶土和釉药的多次对话中诞生,展现出令人忍不住想触摸的美感。

我们被新见女士对素材的深入探究精神以及她对生活中“物”的真挚情感所打动,希望通过本次展览,向大家传达她作品的深邃内涵与釉药的独特魅力。

偶然与必然的创作

新见女士的作品,拥有一种奇妙的力量,能唤起观者内心深处的记忆与某个久远的风景。

为了探寻其中的秘密,我们拜访了她位于家中一隅的工作室。那里流露出她以生活的延伸来面对陶艺的姿态。架上整齐排列的无数陶杯,诉说着她反复进行釉药实验的痕迹。

“釉药本身就是使用地球上存在的物质制作而成的自然之物。它本身就能带给我灵感。”

新见女士如是说道。她被釉药中那种无法以自身意志完全掌控的偶发性所吸引,并持续创作下去。

窑内的反应会因釉药成分、厚度、形状、烧制方式等不同条件而变化。她制作的简洁造型,其实蕴含着深意——在成形时便已考虑到釉药的流动方向与厚度。将重力与热的特性纳入设计,结合缜密的化学实验,正是这种积累与窑内偶然反应的交织,造就了作品丰富而独特的表情。

当这些作品被置于生活之中,总会有让人心生共鸣的瞬间。而这,正是新见女士作品的魅力所在。

“漂亮的东西,总让人想去触摸吧?我希望创造出那种能被双手包覆、被人亲近、让人情不自禁想去触摸的作品。”

器皿所编织的风景

陶器/器皿从铺着榻榻米的室内一直延伸到青苔庭院,仿佛一条河流。

远观时犹如一条巨大的河流,靠近时则可欣赏到每一件作品各异的表情。

我们致力于营造一种空间布局,让参观者能够从作品的制作过程、鉴赏,到实际使用的体验,全方位地理解新见先生的作品。

新见先生的作品会随着时间的流逝、自然光和人工照明的变化,以及观看角度的不同而不断变幻其面貌。

参观者亲手拿起作品,仔细端详,寻找属于自己独特的那一件的场景令人印象深刻,我们近距离感受到了作品与人相遇的瞬间。

关于茶会

在“釉药之诗”的展期中,我们举办了两场迷你茶会,让参观者享用Sablier特别为本次展览制作的烘焙点心和茶饮。

这些点心包括:使用了亲切的日式食材,带有香气并能在香脆之余带来如深呼吸般春日感受的酥饼(sablé);以及以新见先生作品的釉药和陶土为灵感制作的费南雪(financier)。客人们用新见先生的器皿,搭配茶饮品尝了这些点心。

新见先生的作品拥有通过精密的化学实验和窑内偶然性所诞生的复杂而迷人的表情;而Sablier的点心则将素材的香气在口中华丽地绽放。这是一个让大家充分体验“手作”的魅力、通过作品丰盈人的心身的美好时光。

 

关于原创单品

 

在本次合作中,新见先生为我们制作了原创作品,以此来回应 gallery 一畳十間(一叠十间)的空间。

“我想让作品融入到由榻榻米、柱子、窗框等直线元素构成的 gallery 一畳十間之中,同时又希望能用微微倾斜的线条创造出一种节奏感。”这件作品便是略带青色的平行四边形扁平盘子。

釉料中使用了制作蓝染时提取灰汁后剩下的紺屋灰(染坊灰)。由于灰中含有的杂质,器皿表面呈现出特有的粗糙颗粒感。它的外观让人感受到与画廊墙壁使用的硅藻土的亲和力,虽然低调却又令人心生喜爱。

它不仅可以作为盘子使用,还可以用来放置花瓶或其它器皿,或者拼接起来像瓷砖一样摆放。这是一件可以享受天然材料带来的经年变化交由使用者自由发挥自行养成的作品。

在线商店在此

新见麻纱子 | 陶艺家

 

在京都精华大学学习陶艺后,她曾任职于京都市工业试验场,并于2010年独立。她通过独特的釉药调配,结合来自不同产地的陶土和烧制方法,创作出展现复杂面貌的陶瓷器。近年来,她在守山邸爱陶举办个展“摇曳之色”,并与日式点心师合作举办茶点配对活动等多种多样的活动。


 

Sablier | 点心作家

 

她秉持着“制作让人心静下来,品味‘当下’的零食”的信念,以不拘泥于现有制法的自由构思制作点心。主要通过在线商店进行销售。

“Teshigoto no Ma,” organized by ichijo-toma, is a collaborative project held at gallery ichijo-toma. It brings together creators who continue to craft objects and experiences that infuse everyday life with creativity and warmth. The space and the artworks resonate with one another, offering a moment that nourishes both heart and body.

This edition features a collaboration with ceramic artist Masako Niimi. Her works are born through countless dialogues with the nature of clay and fire, resulting in pieces so beautiful that one cannot help but want to touch them.

We were deeply moved by Niimi’s sincere exploration of materials and her thoughtful approach to the objects that inhabit daily life. Through this exhibition, we hope to share the profound depth of her work and the quiet allure of her glazes.

The Art of Creation: Between Chance and Intention

Niimi’s works possess a mysterious power—one that evokes memories, or distant landscapes that dwell somewhere within the viewer’s heart.

To uncover the secret behind this quiet resonance, we visited her home studio. There, we witnessed how her approach to ceramics is deeply intertwined with daily life itself. The shelves lined with countless cups spoke of her many experiments with glazes—traces of her ongoing dialogue with material and process.

“Glaze is something entirely natural,” Niimi explains. “It’s made from substances that already exist on this earth. That alone is a constant source of inspiration.”

She is drawn to the spontaneous, uncontrollable nature of glaze reactions—those moments that occur beyond the maker’s will. Within the kiln, countless factors come into play: the composition of the glaze, its thickness, the shape of the piece, and the method of firing. Even the simplest forms Niimi creates are carefully considered, shaped with an awareness of how gravity and heat will influence the flow and depth of the glaze. Through the meeting of calculated form and the unpredictable reactions of fire, a rich and nuanced expression emerges.

When placed in everyday life, her pieces have the power to quietly draw one’s heart toward them—to invite touch, connection, and contemplation.

“As humans, we naturally want to touch what we find beautiful,” Niimi says. “I want to create objects that make you want to hold them close, to feel them in the palm of your hand.”

Landscapes Woven by Vessels

The vessels are arranged in a gentle flow, leading the eye from the tatami-lined room toward the moss garden beyond. From a distance, they resemble the quiet movement of a river; up close, each reveals a distinct expression, a subtle individuality shaped by hand and fire.

In designing the exhibition, we sought to create a spatial composition that allows visitors to experience Niimi’s work from multiple perspectives—from the process of making, to the act of viewing, to the tactile pleasure of using the pieces in daily life.

Niimi’s works transform constantly with the passage of time, the shifting of natural light, and the angle of illumination. Their appearance changes with each moment, and with each observer. Watching visitors pick up the pieces, carefully engage with them, and search for the one that speaks most deeply to them was profoundly moving—a quiet reminder of the beauty found in the encounter between object and person.

The Tea Gathering

During two days of the exhibition “The Poetry of Glaze,” we hosted a small tea gathering featuring special confections created by Sablier to accompany the display.

The sweets were crafted with familiar Japanese ingredients—sablés with a gentle aroma evoking the breath of spring, and financiers inspired by the glazes and clay of Niimi’s works. Guests were invited to enjoy these delicacies served on Niimi’s own ceramic pieces, paired with tea.

The encounter between Niimi’s works—born from meticulous experimentation and the serendipity of the kiln—and Sablier’s sweets, whose fragrances unfold delicately on the palate, offered a sensory harmony. It became a moment to fully experience the essence of teshigoto—the quiet, devoted craft that enriches both heart and body.

About the Original Piece

For this collaboration, Niimi created an original work in response to the spatial character of gallery ichijo-toma.

“In the space of gallery ichijo-toma—composed of straight elements such as tatami, pillars, and window frames—I wanted to create a gentle rhythm with a slightly diagonal line, something that would blend in yet quietly shift the balance,” says Niimi.
The result is a blue-tinged, parallelogram-shaped flat plate.

The glaze is made using kōyabai, the ash residue left after extracting lye during the indigo-dyeing process. The natural impurities within the ash create a distinctive coarse texture on the surface. Its subdued tone harmonizes beautifully with the diatomaceous earth walls of the gallery, evoking a quiet sense of warmth and affection.

The plate can be used not only for serving but also as a base for displaying vases or bowls, or even arranged in sequence like tiles. Made from natural materials, each piece evolves over time—an object that grows together with its owner, inviting a personal dialogue through use and care.

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Masako Niimi | Ceramic Artist

After studying ceramics at Kyoto Seika University and training at the Kyoto Municipal Institute of Industrial Technology and Culture, Masako Niimi established her own studio in 2010.
Through her unique glaze formulations and the combination of various clays and firing methods from different regions, she creates ceramics with deeply layered and expressive surfaces.
In recent years, she has held solo exhibitions such as “Yuragi no Iro” at Moriyama Teiaitou and has organized tea pairing events in collaboration with wagashi (Japanese confectionery) artisans.


Sablier | Confectionery Artist

Sablier creates sweets with the philosophy of “quietly savoring the present moment.”
With a free and inventive approach unconstrained by traditional techniques, they craft confections that engage the senses and the spirit.
Their creations are primarily available through their online shop.