Kyusu Tea Vessel with Wooden Handle Jonathan Steele
Appears in the May/Jun 2023 issue of Pottery Making Illustrated.

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Editor's Note
In the Potter's Kitchen
In the Studio
Pottery Illustrated
I find beauty and solace exploring the natural landscapes in the mountains of Washington and along the coasts of Puget Sound. The forms of the land, the growth of the wild forest, and the movement of water in these spaces consistently provide me rich inspiration that I can take back to the studio along with a steady vision for how I want to enact my work.
Inspiration from Culture and Landscape
Kyusu is simply the Japanese term for a teapot with its handle on the side. It is poured with a turn of the wrist rather than a forward tipping motion, making for a gentle and elegant presentation when serving tea to a guest. Whether it is casual or performed with a traditional formality, serving and enjoying tea invites a heightened care and presence, and creating the vessels especially for those moments is my acknowledgment of the importance of those intentional moments for myself and for my community.
The Form, Briefly
Clay Forms for Mixed Media
The best way I’ve found to achieve both goals is to build a clay anchor onto the side of the pot that resembles a stud bolt (2, 3). The textured and hollow form of the anchor allows two-part epoxy to fill the space to create a key joint that securely holds the pieces together. This will fit inside the hollowed piece of wood after the pot is fired (4), creating the illusion of natural growth.
Shaping the Wood Piece
Attaching the Handle
After allowing the adhesive to cure overnight (10), the handle is complete.
Sealing the Wood
Once the kyusu and the wooden handle are fully integrated (8), I seal the wood with a food-grade butcher block oil or cutting board oil. I have tried a variety of wood finishes and continue to experiment with them. I want the wood to appear raw and natural, so I stay away from finishes that seal with a hard plastic appearance like polyurethane or shellac. Many natural oils and waxes I’ve tried carry a lingering scent, which may be pleasant but disturbs the experience of smelling the tea when the pot is ready to use. Butcher block and cutting board oils meet both considerations well, though I’m always open to new suggestions if you’d like to contact me about it.
In Use
My teapot forms join a cast of supporting vessels (cups, trays, decanters, and bowls) to present a practice of tea service known as “gongfu cha” that has a refined focus on the delicate balance and presentation of flavors and styles. Puerh tea from China, oolong from Taiwan, and green tea from Japan all find their place in the ritual of it and these continually influence my communities in the Pacific Northwest and California. It has become a beautiful sharing of aesthetic and cultural sensibility through art, craft, and taste.
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