Takeshi Yasuda at Goldmark Gallery Nov 2013

Oh lordy - look what just popped into the inbox Takeshi Yasuda show invite

He seems to be developing the techniques he nicked from Anja Lubach.

He he - explain (for the uninitiated)

I suppose such things happen all the time but it was the small bowls on the Goldmark site that reminded me.

When Anja was doing her Masters at the Royal College of Art Yasuda was her tutor/supervisor or what have you. There she developed a different way of getting that "loose thrown" look, which he copied. When she told me this she wasn't bitter but got a little annoyed when people commented on how her work was influence by his, as in reality it was the other way around.

Ah ha - it does happen indeed. A student jeweller friend had a design completely ripped off (for commercial gain) by her tutor.

There is also a resemblance to the work that Joanna Howells was doing 10 to 15 years ago so I can't say I'm impressed and that's even without considering the factory made bits.

Hate to say it , but I can't see the popularity in his work at all , does nothing for me  

Well,you will need £6000 40cm Bowl with Gold:rofl:
But darn.Its already sold.
Some pf the pots are already up on the Modern Pots website.
Some of the stuff is lovely. Tho I can't say I think much of the Press moulded stuff. 

Methinks I 'd rather spend my cash elswhere , if his name was joe blogs I bet he wouldn't be as popular  

But its all purely personal taste surely Ed?

from what i saw on that video, it looks very accomplished and beautiful. As for who copied who etc, old dogs can certainly learn new tricks - surely it's not a question of who learned from whom, but who does it better?

And I have purchased a piece of the press-moulded work so theres absolutely no accounting for taste  

philpot wrote:But its all purely personal taste surely Ed?

Yes , of course it is I agree , just not mine , no doubt they are very accomplished pieces etc ,but to me they seem the sort of stuff that could sit displayed in your house and no one would take a blind bit of notice of them , I'm not keen on the forms ....or the colours ...or the decor ..apart from that there great  

bistoboy wrote:from what i saw on that video, it looks very accomplished and beautiful.  As for who copied who etc, old dogs can certainly learn new tricks - surely it's not a question of  who learned from whom, but who does it better?

Yes , but that said originality is the key , almost anyone can copy to a degree , coming up with the ideas is the skilfull bit imo.

So who in modern pottery has those ideas then?
Indeed,is it possible?

Well Ideas have to originate somewhere don't they , in all walks of life there are those who come up with the ideas first and there are those who follow , we are mostly followers , but having said that there can be and are twists and slants on things that can make a difference , influences are everywhere , Picasso can credit african art for example to some of his work , to answer your question Phil -
"So who in modern pottery has those ideas then?
Indeed,is it possible" I think Gordon Baldwin and Robin Welch are Unique in their pottery , Artists who have their own personal marks decors etc are unique , I think it all depends on what you might call samey or not , open to debate I suppose .

Both artists who use a 'Painterly' approach to some extent. Using the pot as somewhat of a canvas.
So by that tenet,Grayson Perry should be there as well.
Equally both Gordon Baldwin and Robin Welsch are well into their late 70's now.
Who of a new generation?

MMmmm I don't know that many newbies in the field to be honest , I know where Grayson Perry Should Be  Despite their age Baldwin ,Welch ,Alan wallwork and the like are still Contemporary and all are unique ,taking their ideas from nature and expressing it in an original and exciting way , I have to be honest and an old fuddy duddy and say some of the stuff Ive seen in galleries purporting to be modernist paintings leaves me cold , their descriptive ideas that made them inspired tend to be from the same songsheet , actually some artists are really just full of themselves (or Sh*t )in some cases , grayson perry is a funny guy but that's it for me nowt else , but only imo  

what interests me is how things develop and change not just reproducing a set formula Ewen Henderson was doing interesting stuffand I wonder what he would be doing now

tenpot wrote:what interests me is how things develop and change not just reproducing a set formula Ewen Henderson was doing interesting stuffand I wonder what he would be doing now

That's an interesting thought Paul , god knows what he would be doing, as a fan of his later work it's hard to see it getting better , different maybe , I know he isn't everybodys cup of tea but it's definitely one aspect of studio pottery I like , of the potters that I do admire IMO some did better work earlier in their career , Baldwin for example , but others matured better as the aged , arguably Wallwork , definitely Welch , it's no secret that like the pots by Sam Hall and his pots have definitely developed for the better as time goes on ( sam also worked with henderson in his younger days )

................... and to link back to the thread, in my opinion Yasuda was much better and more original earlier in his career than he has been in the last 20 years.

If he was more original earlier in his career surely he should have devolped a more unique style as the years went on , i feel some potters pander to commerce and £££££ more than anything else , I can't blame them for that ,just think it's so .

I think artists that can continue to be creative throughout their careers are the exception rather than the rule.

Some seem to have a 'second childhood' and become creative in their later years, maybe because they're not having to churn out staid domestic wares just to earn a crust, such as John Pollex and Richard Godfrey.

personally I find that a lump of clay will often show what it wants to be, just as a piece of wood might to a carver or a piece of stone to a sculptor.
Originality is alive and well in the 21st century but to produce enough original pieces is the trick