Small grey cup with a shimmer of jade and a delicate network of fine cracks on the surface weaving across the glaze, giving the surface a quiet sense of depth and age. A pattern of slip (thick liquid clay) has been carefully trailed onto the bowl using a squeeze bottle, adding subtle texture and movement. The unglazed base reveals natural color variations shaped by the fire, with earthy gradients that reflect the unique atmosphere of the kiln.
CHF 40
Each piece is handmade individually, so slight variations in shape, texture and color may occur. Distortions, roughness or uneven tones are part of the charm and character of handcrafted work. Size and weight are approximate and may vary slightly from piece to piece. We’ve done our best to capture the true color and texture of each item in the photos, but please note that they may appear differently depending on your screen settings and lighting conditions.
Born in 1965 in Kyoto City, Maeno Naofumi graduated from Otani University in 1990 before continuing his studies at the Kyoto Prefectural College of Ceramic Technology for one year. From 1991 to 1995, he trained under master potter Shimizu Toshihiko¹ at the Toshihiko Kiln in Hyogo Prefecture. In 1997, he established his own wood-fired kiln, the Kihata Sarayama Kiln, nestled in the mountains of Kyoto, and began working independently as a potter.
¹ Shimizu Toshihiko studied under Ikuta Kazutaka, a disciple of Kawai Kanjiro, who is considered one of Japan’s most celebrated potters and a co-founder of the folk craft movement, together with Sori Yanagi and Hamada Shoji.
Deeply knowledgeable about historical pottery, Maeno is particularly fascinated by British slipware², especially pieces from the 19th century. His vessels carry a subtly classic atmosphere, shaped by these influences. He aims to create pottery that resonates on a personal and tactile level with those who use it.
² Slipware is an ancient type of pottery decorated with liquid clay, or "slip," which is applied to the surface to create designs and textures. The slip can be trailed, painted, splashed or combed onto the pottery before firing.
Maeno is known for his functional ceramics that draw deeply from cultural tradition. His work reflects the spirit of wabi-sabi³, a philosophy expressed through subtle textures, natural finishes, and the gentle asymmetry that reveals the hand of the maker in every piece.
³ Wabi-sabi is a concept central to Japanese aesthetics that embraces the beauty found in imperfection. It celebrates natural flaws, asymmetry, and the aging process, seeing them as essential elements of beauty.
Fired in a handmade wood-fired climbing kiln, each piece develops unique textures and hues shaped by the movement of flame and ash. This organic process results in pottery that feels deeply connected to nature and bears the unmistakable imprint of the maker’s hand.
The drive from Kyoto City to Maeno’s workshop is a scenic journey through rice paddies and shadowed forests, with natural beauty at every turn. His workshop and home lie nestled in a serene valley, where fields and lush forest surround him. Here, the plants and buildings blend harmoniously, creating a space where nature and craftsmanship are deeply intertwined.
Maeno’s techniques include influences from the Japanese Mingei⁴ movement, which focuses on the beauty of everyday objects. His work offers a harmonious balance between utility and artistry, evoking a meditative quality that aligns with the values of Japanese tea culture and daily ritual.
⁴ The Mingei movement, meaning “folk-craft” was founded by Yanagi Sōetsu in the 1920s. It honored handmade, everyday objects made by anonymous artisans. Emphasizing simplicity and function, it celebrated imperfections and sought to preserve traditional crafts while elevating folk art as a valuable cultural expression.
He also chops firewood, digs and processes clay by hand and prepares his own ash glazes to enhance the natural character of his ceramics. Much of his work takes place in the lush garden that surrounds his home and workshop.
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