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Teruhiko (Terry) Hagiwara


What clay body do you use?

" Stoneware clay, balcone white, for high fire, wood fire, and raku.

I used to mix clay myself with 50 lb Goldart, 25 lb OM4 Ball Clay, and 50~100(?) lb of scrap clay slurry. "


Primary forming method?

" Mostly wheel throwing. Intermittently hand-built (coil) "


Primary firing temperature?

"High fire gas kiln (Cone 10)

Raku firing (Cone O6 ~5)

Occasionally saw dust firing."


Favorite surface treatment?

"Simply glazing for most high fire pieces

Double glazing over Oil spot black

Sometimes triple glazing with Shino glaze

I like Crackle Glazes, high fire or Raku fire

Beer Bottle Celadon glaze (Cone 10). Basically K-spar 60% powdered glass 40% from Heineken, Mouton cadet, etc. bottles. Bill Dennard gave this name.

For Raku firing, apply terra-sigillata on dry pieces and burnish, then bisque-fire to Cone O10 (1650F) to retain the sheen of burnished surface.

  • Then glaze crackle white as designed for Raku pieces
  • Or, apply clay/mud slurry and brush raku glaze over the mud for ”Jade-finish” (Naked-Raku) pieces"
  •  Or, smoke fire as in saw dust firing
My terra sigillata is a cheating one. It’s a Ball clay slip. Fill a one gallon jar to one third with OM4 Ball Clay then add water to full. (I use a biscotti jar from Costco.) And stir. (Close the lid and shake.) Leave the mixture still for about a few days to a week. Discard the top clear water leaving about less than half an inch of mirky water above the clay sediment. I use a brush in murky clay water and top of clay sediment and apply on the dry surface of a clay pot.



"Crackle Glaze"




"Beer Bottle Celadon Bowl"




Holding favorite tools



"Bubbles"




"Coil Built Shino Vase2"




"Saw Dust Fired"



Favorite Tools?

"Cow tongue (Gyu-bera) for throwing bowls. I bought a few of them when I visited Shigaraki, Japan, about 20 yrs ago.

Burnishing knife (for print making) to burnish pre-bisque dried pieces that are to be Raku fired. I used to use spoons, polished agate, and many other smooth surface objects I found. One day, I noticed burnishing knives at the print making aisle next to the pottery tool aisles in the TX Art Supply. These aisles are distant today. "


Describe your studio environment.

"My studio is Glassell’s ceramic studio. I seldom interact with my colleagues in my day job. I wouldn’t see many other people either if I had my own studio. So I decided to stay using the school studio to get stimulation from fellow students. Now in the pandemic, I’m wondering if I should have my own."


"Flow"



"Self Portrait 2"




"Basket"




"Self Similar"




"Garden Stool and Table"



"Staircase"

How/Where do you market and sell your artwork?

"Serrano Gallery in Silver Street Studios. I started with Artables = Goldesberry Gallery, then with Bogan Gallery/Galveston, Bella Vista Gallery/Asheville, 18 Hands Gallery, Asher Gallery/HCCC. Alas, they all closed."



"Meeting of the Water, Manaus, Brazil"



"Meeting of the Waters 3"



"Meeting of the Waters"




"Jade Finish"

What sparks your creativity? What drives you to work with clay?

"Anything, Everything J Once I went to Manaus, Brasil. After the cruise on the Amazon and the Meeting of the Waters, I visited the Manaus Opera House and found “Meeting of the Water” tiled square from the terrace. I was excited to find the same tiled square around the Monument of Discoverers in Lisbon the last year. "               

                                                             



"Queen of the Night"




"Queen of the Night"

Did you come to ceramics from a different career? Tell us about your journey to a ceramics career.

      " Quite accidental. At that time, many of my colleagues who became single again were taking art classes at Glassell, and they invited me to join them. As all of them were taking 2D classes, I wanted to take a 3D art class. As a native of Kyushu, Southern Island of Japan, I was familiar to enjoying local ceramics, like Nabeshima, Arita, Karatsu, Hagi, etc. Also I wanted to make my own dinner ware."




       "My Cubism"




      "Acanthus 2"


      How have you have taken your experience as a well-established maker in the field and passed that knowledge along to your other artists?

      "I always answer whenever asked. I have given demos to small groups."



      "999 Eyes"



      "My Cubism 2"



      "NO Vase"





      "Nerikomi Vase"

      What’s the best advice you’ve been given by a fellow maker, mentor, or teacher?

        Bill Dennard was my first teacher when I started ceramics at Glassell. He taught me a lot. He encouraged to try anything. I learned how to throw tall pieces from watching Gary Costa’s throwing demonstration. I learned how to coil-build the big vase Shigaraki style from Shiro Otani’s demonstration during Anagama Workshop at Peters Vally Craft Center, NY. I attended several workshops and summer camps. I often found something inspiring from instructors and fellow participants. I enjoyed attending The Macsabal International Wood Firing Festival (Workshop) in Osan, Korea and Zebo, China, several years. "




        "Triple Lattice"



        "Wood Fired 3"


        "Carved Out Vase"


        "Wheel of Fire"



        "Old Yeller over Oil Spot Black"


        "Coil Built Shino Vase"


        Artist Statement:

        He finds beauty in anything almost symmetric or organized but with the symmetry slightly broken.

        He works with high-fire stoneware, but more often with raku firing. With raku firing, he uses glazes, whether metallic copper or crackle white, in simple geometric patterns. He enjoys to fill the closed surface of a vessel with rhythmic patterns.

          clayhouston

          Address:
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          Houston, TX 77266

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