Creating Through Contemplative Wandering and Restless Exploration［Part 1 ］

The works of Ryutaro Yamada are defined by their striking brushwork (hakeme) and white clay slip (kohiki) techniques. Each piece possesses its own distinct natural texture, harmonizing rustic simplicity and delicate refinement with everyday functionality.

Ceramicist Ryutaro Yamada relocated his studio to Sagamihara City, Kanagawa Prefecture in 2014, inheriting both the kiln and workspace of the late Ryo Aoki. "It all began when I visited to see Aoki-san's work, which eventually led to my taking over this space. Despite employing only the simple elements of clay and glaze, Aoki-san pursued a diverse range of expressions— white clay slip (kohiki), brushwork (hakeme), white glaze (hakuyu), and unglazed firing (yakishime). Since I had kept some of his pieces that I particularly admired, I wanted to experience the studio where he had created them. When I was asked, 'Would you like to take over this place?' I already had a desire to create my own work in a wood-fired kiln. Aoki-san had two wood kilns—one, a converted electric kiln that I no longer use, and the climbing kiln, which I still find fascinating as I experiment with different approaches. I've also added my own wood-fired kiln, using different kilns for different pieces. Additionally, I maintain three kerosene kilns that produce reliable results, primarily for tableware like plates."

Kilns and works-in-progress are scattered throughout the grounds.

A diversity of forms, colors, and textures.

The traditional veranda and shoji screens warm the heart despite the cool temperature.

How did his journey as a ceramicist begin?
"I had been attending art university when I developed panic disorder and alopecia. I returned to my parents' home and entered a sort of moratorium period. My now-wife, who was a classmate at the time, suggested I try pottery as therapy. While working part-time jobs and attending pottery classes, I found myself unexpectedly drawn to ceramics and decided that this was how I wanted to live, despite having neither money nor connections. At that point, it felt like a choice between dying or living through pottery. As I explored making a living from it, I naturally wanted to study in a pottery production region. After researching, I became interested in Tajimi City in Gifu Prefecture, which was producing fascinating young artists. Learning about the 'Tajimi City Institute of Ceramic Design,' I decided to relocate there."

The way he thoughtfully contemplates and meticulously chooses his words is impressive.

Glimpses of his continuous trial and error process can be seen here.

His works possess a humble presence yet evoke a distinctive sensuality.

After moving to Tajimi, Yamada studied history and techniques at the institute during the day, mastering the potter's wheel. In the evenings, he would visit pottery factories and workshops, earning modest sums by crafting a single tea bowl at each workshop—foundational work that strengthened his skills as an artist. After three years of balancing creation and part-time work, he began his professional career, participating in craft fairs and selling his pieces. He expanded his reach by contracting with wholesalers as a new artist, managing everything from production to sales himself. He reflects on this period as "a time of learning through overcoming challenges on my own."
"I learned so much in Tajimi. It had everything—raw materials, glazes, kilns, specialty shops, and professionals. For someone starting from nothing, it was an ideal environment. However, with so many ceramicists and artists there, I became aware of the various social dynamics and factions. Being naturally less adaptable, I gradually felt constrained. The environment began to feel restrictive, so when I married at 30, I decided it was time for a change of scene."

Rather than sourcing by region, he selects clays for their quality, blending white clay with red clays of different grain sizes.

The space, filled only with the sound of the potter's wheel, creates an almost meditative atmosphere.

While his pieces have an artisanal quality, Yamada's works remain practical for everyday use.

Yamada's creations embody traditional ceramic aesthetics while maintaining a contemporary sensibility and versatility that complements various cuisines. When asked about the popularity of his work among hotels and restaurants, he modestly replies, "I'm too close to see it clearly myself, my perspective blurred by proximity."

"There's what I want to make, what I can make, what I want to sell, and what actually sells— all different aspects. I create vessels while considering various factors, but ultimately, the creator determines what is right for the creator, and the customer determines what is right for them. Perhaps the lack of any forceful 'This is it! How about that!' attitude contributes to the approachability and adaptability of my work. But reflecting on it, I feel I cannot escape being an artist who emerged in the 2010s, inextricably connected to this era. That's inevitable since I live in this time. I examine each fired piece, contemplate it, explore new methods, and gradually evolve. Perhaps there's some ultimate state to reach, but not having arrived there yet, I can't say. Like home cooking that seems the same daily but changes subtly to retain its allure—that aspect might be something I consciously pursue."

His words, spoken thoughtfully and deliberately, carry the weight of an artist's perspective. What had been only vague impressions of his work now gains remarkable clarity through his honest, unembellished expressions. In Part 2, we will explore his actual pottery-making process in greater detail.

Works-in-progress arranged methodically.

Clay and heat: primordial elements giving rise to the natural texture that characterizes his work.

His pieces inevitably make one wonder what dishes to serve on them.