One of the most captivating aspects of nerikomi is its unpredictability. Due to the manipulation of the clay and the organic nature of the process, each piece created using this technique is entirely unique. But, Shinro Yamamoto has learned that it is not entirely luck that creates outstanding nerikomi pottery. He noticed that it was possible to weave his intentions into the way he wedged and threw the clay, and this mixture of luck and technique is what keeps him coming back.
In today's post, an excerpt from the 2023 issue of Studio Talk, he explains more about his process. –Jennifer Poellot Harnetty, editor
The technique I’m currently working on is marbling. It is also called nerikomi or neriage. There are two main types of this technique. One is a handbuilt method that combines many small parts into a pattern to make a large block, which is then sliced into plates. Another way is to use a potter’s wheel. My work is based on the latter technique using the potter’s wheel.
First, multiple clays of different colors are kneaded together and then thrown on a potter’s wheel. Through this process, the mixed clay creates intricate and fluid patterns.
When the wheel throwing is finished, the resulting surface of the work is covered with a clay slurry, which muddles the surface and disguises what kind of pattern has been created. After a while, when the surface of the work has dried moderately, it is then scraped, and the pattern appears for the first time. The entire piece, including the interior and the foot, is carefully trimmed to create the vessel’s shape. The unpredictable patterns that emerge through trimming always give me a fresh impression.
It’s like the beauty you see in nature—flowing clouds, flickering flames, and swaying water. I’m always excited when I’m trimming a form because I see new patterns emerge and change moment by moment.
The appeal of this technique is that it is not an artificial decoration in a calculated way. However, if it had been 100% luck, I wouldn’t have been so fascinated by this technique. As I continued to explore this technique, I realized that it was possible to interweave my own intentions, albeit slightly, into the patterns. There are several factors that shape the pattern, such as the ratio of colored clay, the method and degree of kneading the clay, and the amount of force applied when pulling up the walls on the potter’s wheel. By repeated trial and error with each piece, I deepen my understanding of this technique and continue to challenge myself to create new works. The expression of nerikomi is still unexplored, and that is my motivation to work on this technique.
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Published Jun 12, 2023
The technique I’m currently working on is marbling. It is also called nerikomi or neriage. There are two main types of this technique. One is a handbuilt method that combines many small parts into a pattern to make a large block, which is then sliced into plates. Another way is to use a potter’s wheel. My work is based on the latter technique using the potter’s wheel.
First, multiple clays of different colors are kneaded together and then thrown on a potter’s wheel. Through this process, the mixed clay creates intricate and fluid patterns.
When the wheel throwing is finished, the resulting surface of the work is covered with a clay slurry, which muddles the surface and disguises what kind of pattern has been created. After a while, when the surface of the work has dried moderately, it is then scraped, and the pattern appears for the first time. The entire piece, including the interior and the foot, is carefully trimmed to create the vessel’s shape. The unpredictable patterns that emerge through trimming always give me a fresh impression.
The appeal of this technique is that it is not an artificial decoration in a calculated way. However, if it had been 100% luck, I wouldn’t have been so fascinated by this technique. As I continued to explore this technique, I realized that it was possible to interweave my own intentions, albeit slightly, into the patterns. There are several factors that shape the pattern, such as the ratio of colored clay, the method and degree of kneading the clay, and the amount of force applied when pulling up the walls on the potter’s wheel. By repeated trial and error with each piece, I deepen my understanding of this technique and continue to challenge myself to create new works. The expression of nerikomi is still unexplored, and that is my motivation to work on this technique.
To learn more about Shinro Yamamoto, visit www.pot-shinro.com.
Unfamiliar with any terms in this article? Browse our glossary of pottery terms!
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