[Komachi Engi] Keiseki Yoshimi — Where He Stands Now

I first met Keiseki Yoshimi in the autumn four years ago, about a year after starting Kamatotsuchi.

Looking back at the article I wrote at the time, I described my first impression of his work as “bold to the point of being almost masculine” — perhaps not the most appropriate expression today, but it conveys just how powerful the impact of his work was. His signature styles at the time, such as Hekihen Sue (then referred to as kiln-transformed Sue) and kohiki, felt inseparable from the image of a potter in work clothes standing before the anagama kiln, stern-faced, throwing firewood into the flames.

“Back then, I think I was very fixed in the idea that Sue ware had to look a certain way. I was so focused on reproducing Sue ware that I wasn’t thinking at all about creating something original. But after meeting Mori-san and having my kiln-transformed Sue and kase-guro chawan and sake vessels presented through Kamatotsuchi, I realized that there were customers who found them interesting. From that point, the rigid idea of ‘how it should be’ gradually fell away, and making ceramics started to become truly enjoyable.”

In the spring of 2024, Yoshimi exhibited alongside Ryuichiro Kawase and Jonghun Kim at the “Roots — Three-Person Exhibition” at Mitsukoshi Nihonbashi. There, he presented numerous chawan, including Ido-style and kohiki bowls, in what could only be described as an explosion of his love for chawan.

“Chawan are incredibly difficult. No matter how large a ceramic wall or jar I could make, for a long time I felt I couldn’t make chawan the way I wanted. But through the exhibition with Kim-san and Kawase-san, I realized from the bottom of my heart that what I truly want to make are chawan. I enjoy making plates and sake vessels as well, but as a ceramic artist, I feel that being able to make chawan is essential. I think this is something I will continue to pursue for the rest of my life.”

At that Mitsukoshi exhibition, he also introduced a new original style that further evolved Hekihen Sue: TanPen Sue. With its pale tones reminiscent of a pear and beautiful blue hues, Tanhen Sue stands in contrast to the powerful reds and blues of Hekihen Sue. These two styles have now become emblematic of Keiseki Yoshimi’s work.

“I will continue pursuing Sue ware, but now I no longer feel that I’m making reproductions. Instead, I feel that I’m using the methods of Sue ware as a base to create what I want to make. Once you begin creating original work, your imagination expands — you start thinking, ‘This spot in the kiln produces red, so I’ll place the Hekihen here.’ Tanhen used to be made by refiring Hekihen pieces, but now I can achieve it entirely through anagama firing. Ideas for what to try next just come naturally.”

Through many conversations over time, I have come to understand deeply Yoshimi’s sense of chance in his work. From glazing to kiln placement, he meticulously simulates every step, and only then entrusts the final outcome to the kiln. It is a disciplined attitude that reminds me strongly of Mitō Rui.

I also remember that when I first interviewed him, Yoshimi often spoke more about the hardship of making than the joy. But in recent phone conversations, I hear only positive words.

“Thanks to you, I truly enjoy it now. Spending time alone with the clay, freely making chawan, trying this and that — I realize how happy that time makes me. In the past, opening the kiln was something I feared, almost painful. Now, the excitement of wondering what will come out outweighs everything. I think that’s because I was finally able to let go of the fixed idea that things had to be a certain way. Realizing that I could make freely and that my work would be accepted. I’m always grateful to Kamatotsuchi and to the customers beyond.”

Not born into a pottery-producing region, drawn from calligraphy into ceramics, and continuing to pursue Sue ware, Keiseki Yoshimi has gradually arrived at his own form of expression. After spending years facing the act of reproduction, he now stands on the foundation of Sue techniques while honestly pursuing the forms he wishes to create. Broadening his perspective step by step, searching for the next step with his own hands — I believe that where Yoshimi stands today will quietly reveal itself in the chawan yet to be born.