Shigaraki tea bowl c. 1995

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ceramic

asian-art

ceramic

stoneware

ceramic

Dimensions 3 3/4 x 4 3/8 x 4 3/4 in. (9.53 x 11.11 x 12.07 cm)

Editor: This is a Shigaraki tea bowl, made around 1995, by Peter Callas. It is made of ceramic, a humble yet enduring medium. I’m struck by its rough, almost geological texture. What do you see in this piece from a formalist perspective? Curator: Immediately, I'm drawn to the surface. Notice the complex interplay of textures: the coarse grain of the stoneware contrasting with the smoother areas, the sporadic, almost crystalline formations scattered across the form. These aren't merely decorative; they're integral to the object's aesthetic identity. Editor: It seems almost accidental, like the artist let the kiln do the work. Is that part of the intention? Curator: Accident, or rather, controlled accident, is often embraced within this tradition. But look closer. The overall shape, that slightly irregular cylinder, the intentional imperfections in the rim – these reveal a guiding hand. The artist understands the materiality and exploits it to full expressive effect. The gradation of color, from the warm ochre to the cooler grays near the top, guides the eye upward, accentuating the vessel's volume. Editor: So the "flaws" are actually intentional and highlight certain aesthetic principles? Curator: Precisely. Semiotically, these deliberate "flaws" challenge conventional notions of beauty and perfection. They foreground the material reality of the object, disrupting any illusionism and inviting the viewer to engage with its physical presence. The emphasis isn't on representation but on presentation – the stark presentation of form, texture, and color. What's your understanding of this interplay between intention and chance? Editor: I appreciate that now. It really pushes you to reconsider your preconceptions of what makes a work "finished." This tea bowl presents imperfection as the very essence of its beauty. Curator: Indeed. By meticulously considering the inherent characteristics of stoneware and its engagement with chance firing, Callas subverts the functional paradigm of this cultural artifact into a nuanced material engagement. It highlights a profound level of sophistication within abstraction and artistic form.

Comments

minneapolisinstituteofart over 1 year ago

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American potter Peter Callas first encountered traditional Japanese ceramics during a trip to Japan in 1974. After visiting the "Six Ancient Kilns" which produced some of Japan's most prominent historical ceramic works, Callas returned to the U.S. and began creating wood-fired ceramics steeped in the ancient Japanese tradition. He built his own anagama, or tunnel kiln, in the hillside near his home in Pierpont, New York, in 1976; it was the first anagama in the United States. Armed with his new knowledge in traditional Japanese wood-firing methods, Callas began creating works that referenced the simplicity of the Japanese tea ceremony, including tea bowls such as the one shown here. Its rough shape and uneven glazing give the piece an easy, natural feel, as though it was just pulled from the earth; this look is achieved as a direct effect of the wood-firing process.