|Galleria Gottardo, Shimaoka Tatsutzo|
6. Kiln Effects
The technique of salt glaze allowed Shimaoka to create the ultimate in colourful rope-impressed inlay. Natural ash glaze, on the other hand, enabled him to pursue variations in colour, shape and glaze texture in a vessel as a whole. This is the change that is brought about naturally by high ternperature on clays and glazes. The Mashiko clay is for low-temperature firing, and cannot be used for this purpose. Because of this, kiln effects is a technique that departs farthest from Mashiko ware and Hamada's works. Shimaoka uses clays and glazes for Bizen, Shigaraki and Shino ware for kiln effects. In the same way he had to invent styles different from those of his teacher Hamada in slip dripping and salt glaze, he had to create something in kiln-effects that was comparable to the perfected styles of Bizen and Shigaraki. And in this again, he was able to attain originality through employing rope-impressed inlay on the clay surface. Kiln effects in clays and glazes give different shades to various parts of the vessel. The white inlay patterns are sometimes eclipsed and are sometimes surprisingly clear. They make his work richer in their expression than those that simply depend on flying ash and fire marks, and promises us that great beauty can be created when human skill and natural force come together. Shimaoka started to work with kiln effects early in his carrer, and produced more pieces in this area as his art matured. In his recent solo shows, many of his most beautiful jars and vases are those with kiln effects (yohen) .
Click here to enter the different descriptive sections of