Soft Process

THE CERAMICS OF NATE RYMAN

Nate Ryman (Tokyo) interviewed by Jessica Craven (Saitama)

J: WHAT IS YOUR BACKGROUND, AND WHAT BROUGHT YOU TO JAPAN?

N: I studied Architecture and Design at the University of Tennessee. During my studies, I took a lot of inspiration from Japanese architects and craftspeople. I think a large part of my decision to come to Japan stemmed from these interests. Before coming to Japan, I was employed in an architectural office while also working part time as an artist in residence at a ceramic studio in Kentucky. This was an extremely busy but formative time in my creative approaches to ceramics. The constraints, stress, and politics of the architectural field led me to find a creative release. I started focusing on ceramics as a way to more freely express my ideas and explore new techniques.

J: COULD YOU TELL US ABOUT YOUR ARTWORK?

N: For better or worse, the medium of ceramics is extremely freeform. The most basic tools at an artist's disposal are mud and their hands. With enough skill and understanding of this deceptively simple material, one can create artwork that will survive for millennia. I find that extremely beautiful, and it led me to experiment in this medium.

My current art is very process-driven. Where many artists and ceramicists would have an image of their ideal finished piece in their head while creating, I prefer to think and plan processes that produce unexpected, interesting, and—if I'm lucky— beautiful results. I've experimented with various materials to produce ceramic objects, from sheets of latex to silicone, tablecloths, and Elmer’s glue. Even though I have encountered far more failures than successes with my experiments, I enjoy the journey and mental challenge.

Even with my unconventional approaches, I still see clay as a utilitarian material, and, as such, want to create objects that fulfill a purpose. Throughout history, beautiful paintings have hung on the walls of the rich and powerful. Intricate sculptures have accented the gardens of the wealthy, but pottery rests in the households of both the rich and poor. An accent of beauty and craft that is inseparably intertwined with human life regardless of social class.

J: WHAT IS YOUR PROCESS LIKE?

N: My process has changed with my location and studio conditions. Back in college, I took classes in wheel-thrown and hand-built forms. Those processes were very therapeutic for me when dealing with the stress of deadlines at architecture school. When I moved to a new city to take a position at an architectural firm, I was provided with a larger studio, and I began experimenting with slip casting. I missed the constant intellectual stimulation I had as a university student and was drawn to the precise and strenuous art of plaster slip casting.

When I came to Tokyo and had to cram my experiments into a small Tokyo apartment, I supplemented my slip casting with 3D printing technology. Ceramic plaster in Japan is around seven times more expensive than in America, so I needed to become much more precise with what I was making. I could no longer make large experimental casts and instead began to plan my creations with 3D software.

Finally, with my current mentor's guidance, I have returned to my roots and have begun to re-learn hand building and wheel throwing to participate in a precious opportunity to fire in an anagama (穴窯), or “Japanese Cave Kiln.”

J: WHAT KIND OF THEMES OR IDEAS DOES YOUR ARTWORK EXPLORE?

N: Back in America, I enjoyed exploring different processes and seeing how they naturally lead to new shapes and details. Instead of thinking about how a finished project should look, I preferred to think about unique processes or approaches. For example, in one series, I explored how pushing and pulling latex shapes while filling them with plaster can create interesting and supple forms. Another experiment led me to produce a paper-thin non-drying clay using various chemical additives and a lot of Elmer's glue. Even though the experiment was, by and large, a failure, I learned a lot about the limitless possibilities of the medium.

After coming to Japan, I was inspired by ikebana and kimono. I wanted to take ceramics out of the home or tea room. I became preoccupied with how ceramic forms could become a part of the body. After some thought, I landed on creating a mask with wearable ikebana. So far, I have created an identical mask with a variety of textures and finishes. This mask showcases the natural beauty and variability of ceramics.

In addition, the sometimes cold urbane aesthetics of Tokyo led me to experiment with using minute, precisely-fitted plaster pieces and allowing the clay to seep between the gaps. I have plans to continue experimenting with these ideas in the future.

J: WHERE DO YOU LOOK FOR INSPIRATION?

N: Over time, the artists that I drew inspiration from have changed. Some of my current sources are Isamu Noguchi (sculptor), Louis Kahn (architect), and the artists of Japanese Bizen style pottery. In my process, I look for inspiration in new materials or methods. Since coming to Japan, 3D printing technology has inspired a new direction in my work.

J: HAVE YOU EXHIBITED ANY WORKS IN JAPAN (OR ABROAD)? COULD YOU TELL US ABOUT IT?

N: As an artist in residence at a studio back in America, I was a part of two exhibitions showcasing my work and explorations at the time. Due to corona, my exhibition plans in Tokyo have been postponed. However, I do plan to have an exhibition this coming year, 2022.

J: HOW DID YOU BECOME CONNECTED WITH THE ARTS AND CERAMICS COMMUNITY IN JAPAN?

N: Before coming to Japan, I asked a Japanese artist I had met to put me in contact with someone they knew in Japan with a studio. The studio was very friendly and welcoming but, unfortunately, very far from where I was currently living in Tokyo at the time. Later on, however, I was lucky to meet my current mentor at a traditional Japanese tea ceremony. I politely asked if I could visit their studio, and they warmly allowed me to come work there when I had time off. My mentor invited me to participate in an anagama firing. At that event, I could meet a large group of Japanese artists from Tokyo and surrounding prefectures.

My recommendation to anyone wanting to find a studio in Japan is simply to ask around. I have found the ceramics community worldwide to be extremely welcoming and supportive.

J: DO YOU HAVE ANY ADVICE FOR OTHERS WHO WOULD BE INTERESTED IN LEARNING CERAMICS IN JAPAN?

N: If you want to learn to swim, you have to first get in the water. Take some classes at a local studio to get your toes wet. Wheel throwing is how I learned the basics of clay, but there are many other types of classes.

Here is a shortlist of class types and translations:

• Hand Buildingー 手 び ね り

- Pinching ー 玉 作 り

- Coil building ー ひ も づ く り

- Slab buildingー た た ら 作 り

• Wheel throwingー 電 動 ろ く ろ

• Plaster Castingー 鋳 込 み 石 膏 型

Ceramic arts come in a variety of forms and processes, so find what you like to do. The various processes of creation can be both meditative and therapeutic, as well as extremely challenging and mentally stimulating. If you have some free time and want to save money, some studios offer free classes if you volunteer your time.

If you have any questions for me, you can reach me through my Instagram or website links below.

Nate is an ex-JET studying Japanese full-time in Tokyo. Most nights, he can be found in front of the computer screen developing his 3D modeling skills in hopes of finding a job in the Japanese game industry. Otherwise, he is riding his bike or experimenting in the ceramics studio. You can also find him on: Instagram, Twitter, and through his website.

Jessica is a fifth-year American JET living in Saitama. On weekends, she enjoys hiking in remote areas of Saitama or taking day trips to Tokyo. When not adventuring, she can be found reading or creating her own artwork, which can be seen on her Instagram.