I am aiming passionately at talking with nature,exploring from nature and finding the essence of beauty.

Soil and glaze are materials gifted by nature. I always realize my ceramic works while talking with this nature. The character of soil varies totally according to a geographical area where it comes from. When I touch it and make a form with my hands, I figure out what the soil want to be. I feel like doing a dialogue directly between us.

I have touched various soils of differents areas and have become to able to feel and recogize every character of every soil in Japan thanks to my vast personal interests and experiences.

Now I’ve love to explore this adventure to outside of Japan by visiting lots of sites of ceramics, in whichever angle of the world. I believe that my own skills and savoire-faire in Kyoto could contribute to discover a new meaning + a beauty.

Here is my passion to go ahead

“Pursuing formative beauty is the essence of my life” – Yoshiaki Dobuchi
This is my philosophy of creating pottery as the 4th family head of TOUAN, the master of the Kyo-yaki and Kiyomizu-yaki ceramics. I have presented my original works as an individual artist since 2019.

▶ Life as a Potter
Clay is essential for creating pottery works. Every clay has its own characteristics and uniqueness depending on the area it was produced. I always “talk” with the clay and try to find the best way to express the strength of the clay through touching and feeling it. However, in the end, all I wish to complete is to produce something simply beautiful. Although I have studied product designing before I took over my family business, what I’m challenging as a potter is to express the beauty “without design.”
The beauty of symmetry designs from the Song Dynasty of China. The beauty of use which was advocated in the Mingei (Arts & Crafts) movement in Japan. These two seem to present completely opposite type of beauty. However, I hope I will be able to create the new style of beauty which combines the two different styles of beauty.

▶ Spirit of Inquiring as a Potter
TOUAN is working on making pottery with its 100 years of tradition and the cutting-edge technology. On the other hand, when I work on my own pottery works, I often employ classical techniques even though the state-of-the-art technology is available in my studio. What is the best method to emphasize the potential of the clay? To find the answer, I try various techniques of different kinds of pottery styles, not only from Japan but also foreign ones such as Tenmoku, celadon, Mino-yaki wares, Persian pottery and more. It might seem that there is no consistency in my art works, however, they are all born from my pure spirit of inquiring that I want to know how I can create the best pottery.

▶ Profound and Limitless – the Beauty of Pottery
Among all processes of making pottery, I feel most nervous when I opening the kiln after firing. I always take my utmost care to decide the best method considering the characteristics of the clay, balance of the glazes, temperature and time of firing, and, the last but the most important is my experience. However, we never know how the works turn out to be until we open the kiln. Sometimes, we fail and sometimes the works turn out to be extraordinary, beyond our expectation. Every time I create, there is always something astonishing, joy and discovery. This is where I find such a profound and limitless beauty of pottery.

▶ Vision for the Future
Youhen Tenmoku is a kind of pottery originated in the time of the Song Dynasty, China. The technique of producing Youhen Tenmoku was lost and I have been researching it and trying to recreate this mysterious ceramic works.
Youhen Tenmoku is known as the most difficult type of pottery to recreate. This is one of my lifeworks as a potter. My father had started to research about Youhen Tenmoku before I succeeded the 4th family head of TOUAN. The more I researched, the more I realized how hard to recreate this ancient ware once its technique was lost. Perhaps that is why I often employ classical techniques in my pottery. In 2019, I succeeded to establish my original way to recreate Youhen Tenmoku, finally. What is more, I was able to discover new techniques, too. The new and original can be born through the challenge to reproduce classical artwork. Over 20 years have passed since I became a potter. I always remember my pure feeling when I touch the clay for the first time. I will always be honest and sincere with my own creativity and never compromise with my pottery works.