Matthias Kaiser – Blue Hikidashi Guro Vase
600,00 €
incl. VAT plus Shipping Costs
This reduction fired vase is made from dark Czech clay, like all pieces in the series. It is a natural, unblended single clay that brings its mineral diversity into the interplay of form and surface. The character of the clay contributes significantly to the appearance of the pieces.
This hikidashi guro vase is made from dark Czech clay, like all pieces in the series. It is a natural, unblended single clay that brings its mineral diversity into the interplay of form and surface. The character of the clay contributes significantly to the appearance of the pieces.
This vase is assembled from two parts and has a very gestural character. It was allowed to stand slightly crooked, which adds to its spontaneous appearance.
It is covered with a dark blue engobe and then glazed with a so-called hikidashi guro glaze. This glaze consists only of iron ore and wood ash and was applied very thickly. In the reduction firing, the glaze took on a unique variety. It shows different nuances on the front and back, top and bottom of the piece.
This vase was made exclusively for The Blue Moon Collection at Volta.
Dimensions approx.: H26cm x ø13cm
Hand-wash recommended!
Standard delivery: 3-7 DAYS
In stock
About the Artist / Designer / Brand
Matthias Kaiser – Blue Hikidashi Guro Vase
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.
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