Matthias Kaiser – White Seashell Chawan
384,00 €
incl. VAT plus Shipping Costs
This bowl carries a white engobe over the clay and a glaze made from scallop shells. The shells are ground with water in a ball mill. During reduction firing, the shell lime combines with minerals from the clay body and by itself forms the characteristic speckled surface.
Matthias Kaiser’s matcha bowls are one-of-a-kind pieces and therefore have collector’s value.
Matcha chawan are tea bowls for green powdered tea (matcha). The tea is whisked directly in the bowl with a bamboo whisk and then drunk from it. The bowls are functional sculptures. Many details are carefully considered in their making, details that usually only reveal themselves after a longer engagement with the culture of tea drinking. The choice of clay body and glaze materials is significant, as are the timing of the forming process, the nuances of the form, the gesture of the making, the tools used and the traces they leave, and not least the firing.
Matthias Kaiser trained as a potter in Japan and regularly exhibits his work there as well. These tea bowls reflect his more than 30 years of working with these forms.
All bowls are made from an unrefined, natural clay from the Czech Republic, which Matthias Kaiser prepares himself in his studio for use. This clay has a high iron content and contains natural deposits of quartz and limonite that give the surfaces a distinctive character.
Delivery time: 3-7 DAYS
In stock
Free Shipping on all orders to Vienna!Description
Matthias Kaiser – White Seashell Chawan
Matthias Kaiser studied at Parsons School of Design in NY and at Vienna’s
University of Applied Arts, apprenticed with two Japanese
master potters in Seto and Karatsu, spent a combined 2 years
travelling on the Indian subcontinent and, for a period of
13 years, he was the akhavan of an Iranian dervish.
His vocation remains: to make pots.
He focuses on the inherent qualities of the material and the
succession of steps that constitute the process of creation,
trying to reveal, not hide, what is there and has been done,
and to give respite from the world of contrived concepts and
passing excitement.
He has always had an affinity to mystery and obsession. The alchemical transformation of earth into stone and glass is full of uncertainties and a never-ending source of amazement.
By subtracting industrial processes as far as possible from the refinement of the raw materials and totally from manufacture, the finished pieces retain a heterogeneous appearance. They are a sum of parts, with infinite possible combinations of shape and surface, texture and colour, weight and size. His pots contain more than a functional and decorative aspect; their poetry lies in the balance of intent and accident as well as in the interplay of physical attributes.
You may also like…
