Gato Ceramics & Japanese Food

Hiroyumi Suzuki, a ceramic artist based in Iga, Mie Prefecture, first encountered pottery during his student years. Drawn to the aesthetics of Korean Joseon dynasty ceramics (15th to 17th century), which have significant influence on modern Japanese pottery, Suzuki decided to move to South Korea for training. Despite having no connections and little knowledge of the language, he was taken by a ceramists, who allowed him to be trained under to learn the country’s ceramic traditions. After returning to Japan, he developed an interest in yakishime ceramics and moved to Shigaraki for further training before establishing his own studio in the neighboring town of Iga.

Suzuki’s work spans a range of techniques, including kohiki (white slipware), hakeme (brushed slip), Mishima, and yakishime, drawing on the legacy of Korean buncheong ware, Shigaraki, and Iga’s wood-fired pottery.

Under his master who specialized in producing ceramics influenced by the Joseon period, Suzuki observed notable difference in the modern ceramic culture in South Korea and Japan. Although demand for traditional ceramics was low in Korea at the time, and main demand came from Chinese tea ceremony. Due to smaller industry size, many traditional ceramists in South Korea still experimented with traditional method of mixing ash with self-harvested materials to produce a glaze, a method that contrasts with the practices in Japan, where raw materials like silica are often purchased.

At his studio in Iga, Suzuki has built two wood-fired kilns: a small down-draft kiln and a larger anagama (cave kiln). While he sometimes uses a gas kiln for urgent orders, he acknowledges that the results from gas firings differ significantly from those produced by wood kilns. For example, carbon released during wood burning reacts with the red clay he uses, leading to color changes in the clay and glazes as ash settles on the surface.

Suzuki fires his large anagama kiln three to five times a year. In the back of the kiln, the iron in the clay oxidizes to create beautiful red hues, while closer to the front, dramatic kiln changes (yohen) occur. The anagama firings last between four and five days, with temperatures reaching up to 1,300 degrees Celsius at the front of the kiln, compared to around 1,200 degrees at the back—a firing process unique to Shigaraki clay, which is known for its difficulty in achieving proper vitrification.

The smaller, more efficient down-draft wood kiln is fired for about 15 hours, reaching temperatures of around 1,200 degrees Celsius. Suzuki takes advantage of the rich source of local clay in Iga and Shigaraki, which has a long tradition of pottery making. Many local potters, including Suzuki, keep an eye on larger construction work, hoping to discover new deposits of desirable clay. For his kohiki and Mishima pieces, he uses red clay sourced between Iga and Shigaraki, while his celadon pieces are made from Shigaraki clay. Some of his glazes are made using natural materials sourced from Korea, which is sent to him by an elder apprentice during his training days.

Currently, Suzuki works alongside an apprentice from South Korea who has recently settled in Iga, continuing to create and push the boundaries of his craft.