theSpace at ArtInformal

Pablo Capati III

Anagama firing is one of the oldest ways to fire pottery. Formed by the ideographs for "hole" and "oven," the kiln is tunnel-shaped, and is made from bricks. The firing process is both lengthy and labor-intensive, and is affected by such factors as kiln size, temperature, and the availability of wood. A regular firing can take three days and may well last until seven days. Potters working in shifts feed wood into the fire round the clock.

The anagama kiln goes way back in ceramic history. It has its roots in China, later moving to Korea and then Japan. Many beautiful pieces are still produced in three locations in Japan: Shigaraki, Tokoname and Iga.

The British Museum owns a 7,000 year-old pot that is considered one of the oldest in existence. It was fired during the Jomon era of prehistoric Japan, perhaps in a primitive kiln, and is an example of early cooking vessels. It is noteworthy that pottery seemed to have started independently in various continents and cultures, pointing to the universal human need for cooked food and sustenance. Aside from their practical applications, pottery, stoneware and ceramics have also found recognition as unique art objects.

Potters all over the world value anagama-fired pieces, considering the finished product surprising and perfect in its imperfections. The results are beyond expectations and standards, and the pieces are appreciated for what they are allowing the finished product to keep its unique identity. It is a tradition and philosophy that is at the heart of Japanese aesthetics the approximation of nature through human effort, but with every proof of human exertion painstakingly hidden from view.

Pablo Capati III built his anagama kiln, based on traditional Japanese designs, at the family farm in San Jose, Batangas, and it is there that he pursues his passion and craft. The first attempt to build a kiln was not successful, but the second kiln, affectionately called Kuma-chan (Little Bear), has been in service for eight years.

In this new show, the artist brings to the fore his mastery of the potter's craft from the clay material that he collects, mixes with water, and molds into various shapes, to the firing process that involves fire and air in order to create unique vessels and monumental pieces. The surface finish, texture and colors of the finished pieces are created through the placement of the fired items in the kiln, the type of firewood used, and the flow of ashes and air through the pieces as they are fired. Some acquire a barnacle-clad texture, while others retain their smoothness. Each finished product is a "planned accident" of sorts.

As Pablo says: "All my works are fired in an anagama wood-fired kiln. I do not use any glazes on my works. The colors and textures come from the intense flames and melting ashes. It is the most primitive and simple of all kiln designs, but is probably the most difficult to master in terms of firing and creating beautiful effects.

Pablo brings fresh insights and a new vision to an ancient art that brings together the most basic elements of earth, water, wind and fire.

- Rene Guatlo