Looking through Taiwan Tea Crafts I came across a teapot by Wang Weilong that reminds me of the direction Petr's work is pursuing with "barky" textures on the teapots.http://www.taiwanteacrafts.com/product/ ... se-teapot/
Wang Weilong's pot has a very fluid integration of both smooth and organic, bark-like textures. While in Taiwan searching out artisan teaware, I never came across anything like this, something so "barky". Then again, Taiwanese tea cultural aesthetics are deeply influenced by Japanese forms/perspective and have their very own, not China, not exactly Japan, approaches. In Taiwan I did find some amazing stone teapots (something I don't see often here on Tea Chat; I had the best tea prepared for me of my entire trip in Taiwan by a stone teapot master, in a stone teapot, at his studio) and other teapots as well by Zhang Geming (here is an example of his work (http://www.ibuyla.com/Product/997230852 ... er_TC0243/
)), Xu De Jia, Qiu Dengfeng (Scroll through here. There's some wonderful work here and a movie at the bottom of the page for those whom speak Mandarin. (http://www.wretch.cc/blog/cdkiln
)), and many others. Qiu Dengfeng's work above, and in The Art Of Tea no.13 do have some branch-like and organic qualities to their forms. A few of his pieces have barky quality to them. I have seen other Qiu Dengfeng work in Taizhong at a teashop there. The owners of the teashop are friends of Qiu Dengfeng and I was surprised at the creativity of his work.
This gallery in Ying Ge has amazing work by multiple artists. My tea teacher took me there on a field trip to visit friends and source tea ware. If anyone is ever in Ying Ge I recommend stopping in this gallery (http://www.thz-art.com
). This is where I first saw Zhang Geming's work.
I have noticed here on Tea Chat that people really respond to the charred and barky textures of some of Petr's work. While I have great respect for the skill of Petr's work and his creative journey, personally I don't feel a resonance with these barky, more charred forms/pieces; I enjoy a cleaner, more subtle, "empty" aesthetic (簡單的茶壺）and am curious if somebody whom is drawn to this more woody and barky aesthetic would be willing to express what it is they are drawn to in the rougher forms of these barky pots.
I am also curious Petr if you'd be willing to provide some perspective for where your work is taking you and why creatively you have found yourself in this more deconstructed, barky form of teapot. Does this for you have to do with the deconstruction of traditional or cleaner forms? Is it merely an expression of a personal disposition and curiosity? Is this direction something thought out or is it a merely a creative intuition that you are following? Is this direction less about the pot form and more about an attraction to playing with the way mind and hand respond to rich, rough, organic textures and glazes?
Recently when I spoke with Yixing master Tang Zhaoxia about her work she told me she prefers the simple shapes; this is, generally speaking, in line with a more Chan Buddhist, clean, but simple form/aesthetic. For her, she mentioned that simple and clean forms are the hardest to do well, their "flaws" cannot be hidden easily. But then again, I know this from wood working and creative writing, some of the best directions taken are the directions that unintended "mistakes" or impulses take us towards.
I remain grateful for all of Petr's and Mirka's work and their ongoing creative tea and ceramic passions. I recently purchased a set of Petr's work from Darjeeling.cz, though not a barky one.