Inside the Workshop of Tokoname Craftsman Konishi Yohei

In June 2009, I had the opportunity to visit the workshop of Tokoname craftsman Konishi Yohei.

Having previously seen photographs of his work in books and exhibitions, I thought I was already familiar with his pottery. However, visiting his home and workshop revealed a much broader world of creativity than I had imagined.

Ceramic works greeted visitors throughout the entrance area, while the garden itself seemed to function as an outdoor gallery where pottery and nature coexisted in harmony.

Konishi Yohei appears to prefer the title of “craftsman” rather than “artist”. Yet his work reflects both qualities: a craftsman devoted to mastering his materials and techniques, and a creator driven by curiosity and imagination.

Collecting and Preparing Local Clay

After more than five decades of pottery making, Konishi Yohei continues to experiment with local clays collected around Tokoname.

He regularly explores the surrounding countryside, gathering small samples of clay and testing their characteristics.

Grass, stones, and other impurities are removed by hand before the clay is repeatedly processed into a usable material.

The process is time-consuming, but it allows him to work with clays that possess distinct local character.

Even today, he admits to being surprised by the different qualities and possibilities of individual clays. The search for new discoveries seems never-ending.

Anagama Wood-Fired Kiln

Many of Konishi Yohei's wood-fired pieces are fired in the anagama kiln shown here.

Firing continues for approximately three days and requires constant attention throughout the process.

The kiln must be monitored continuously, making wood firing one of the most demanding forms of ceramic production.

Comparing Clay and Firing Methods

The local clay used by Konishi Yohei is precious because of the time required to collect and prepare it.

For this reason, he often prefers making two smaller teapots rather than one large teapot from the same amount of clay.

Each teapot shown here was made from a single type of clay.

The top row was fired in an anagama kiln, the middle row under reduction firing, and the bottom row under oxidation firing.

These sample teapots were created as reference pieces for museums and libraries, helping preserve knowledge for future generations.