ANAGAMA

ONE KILNではこれまで、型を用いながら、使いやすさと個性が共存する器づくりを目指してきました。 同じ型から生まれた器でも、土や釉薬、焼成によって少しずつ異なる表情を持っています。 しかし、この穴窯のシリーズでは、その変化は私たちの想像を大きく超えていきます。

Araheam

前原兄弟と出会ったのは、まだONE KILNとして動き出す直前のことだった。 ニューヨーク帰りの良一郎と、中国語も話せるグラフィックデザイナーの宅二郎。 天文館で展示をしていると、ふたりでふらっと見に来てくれたのを覚えている。

Natural Aroma Candle

ONE KILNのものづくりは、日々の何気ない出来事や、 身近にある素材に向き合うことから始まります。 窯から出てきた器には、歪みやムラ、小さな傷が生まれます。

Action and Reaction

2019年3月。BEAMS の小川さんから届いた一通のメールが、緒方くんとの出会いのはじまりだった。「福岡の ON AIR というクリエイティブチームから、ONE KILNを紹介してほしいと相談を受けました。」

LIGHT HOUSE

Maticの外山 翔君とは、同じ専門学校で、学年は僕がひとつ上。かけ持ちしていたバイト先まで偶然２つとも同じで、翔が後から入ったため「僕を追っかけている翔君です」と冗談交じりに紹介している。 僕たちは設計事務所で模型製作のバイトを通じて親しくなった。

降灰と掘採

高校卒業後、私は鹿児島から東京のデザイン専門学校に進学しました。高校時代、バスケットボールに夢中だった私は、早くからデザインや美術の基礎を積んだ友人たちに圧倒され、毎日の授業についていくのに必死でした。色濃い学生時代はあっという間で、最終学年の卒業制作では家具デザインを専攻することにしました。

Reproduction

この試みは2023年の年末、ash Design & Craft Fairの繁忙期に静かに幕を開けました。その時期に、私たちの取り組みを象徴していると感じた、ある夢の話をInstagramに投稿しました。当時の臨場感をそのままに、投稿内容をご紹介します。

Jincup

I once heard that if everyone enriches their immediate 5-meter radius, the whole world will inevitably become richer. My journey into pottery began with a desire for self-expression—to find my own style and create shapes no one had ever seen. As more people gathered at ONE KILN, my motivation evolved into a desire to create pieces that could bring happiness to everyone.

Shuo Iwakiri

Pottery is often imagined as a solitary craft practiced far from civilization, but ONE KILN is located in a residential area just a ten-minute drive from the bustling downtown of Kagoshima City. I was 24 when I first aspired to pottery, reaching out to artists I admired and attending a vocational school in Kyoto, only to face rejection everywhere. It was a time filled with a sense of blockade.

UpcycleLino × ONE KILN

Are you familiar with Piccolo Company from the Ghibli film "Porco Rosso"? The kindly old man Piccolo, faced with economic hardship and the absence of men who had gone to earn money elsewhere, rallies all the women in the family to keep the factory running. The scene where he encourages them with the line, 'Eat up and work hard!' and the women energetically going about their tasks is memorable.

Ash-Stone

In pottery, you never know what will happen until you take the piece out of the kiln. The shrinkage of the clay, drying times, and thickness of the glaze all vary with the seasons. Clay shrinks at every stage of the firing process, and the final size of the product is about 10% smaller than when it was formed. Inside the kiln, the pieces undergo harsh trials.

Blue Bottle Coffee

We have launched the coffee mugs 'KAORI' and 'AJIWAI' in collaboration with Blue Bottle Coffee.

Creating Gallery

Next to our studio, there is an old single-story building. Until now, we had been using it bit by bit as a warehouse and office space. However, renovating it more substantially, like altering the plumbing or removing ceilings, was a daunting task, so we decided to have Mr. Yamaguchi from ARTON take on the full-scale renovation.

Pebble Collaboration

When I aspired to become a ceramic artist, I chose an Arita ware kiln to train. There, professionals mastered various processes like molding, painting, and firing. Inside the factory, bisque plates circulated on conveyor belts, and small trucks loaded with plate molds crisscrossed the town. Despite my desire to meticulously craft by hand, as a newcomer, my role was limited to loading kilns. Gradually, my passion for ceramics seemed to endlessly circle the conveyor belt, going nowhere.

Sakurajima Volcanic Ash

Upon returning to Kagoshima and embarking on my career as an independent ceramic artist, the first thing I created was a set of porcelain tableware. We dry the molded clay outdoors, but when ash from Sakurajima falls, it leaves black spots on the surface after firing. One day, I had the idea to turn this formidable enemy of porcelain, the volcanic ash, into a glaze. I quickly swept up the accumulated ash with a broom, packed it into a plastic bag, and brought it back to the studio. The base for this was a basic glaze known as iron glaze, which develops into black or brown colors. I experimented with various amounts of volcanic ash and firing temperatures until I was satisfied. The ASH series uses this volcanic ash glaze. In the iron glaze, which turns a slate gray, the glaze sparkles metallically like stars scattered across the sky. The interaction between the interior and exterior glazes during firing, and the variation in color depending on where the pieces are placed in the kiln, add an element of crafty intrigue. Finding textures that suit my taste is also part of the fun.

THE SUN TO A TABLE

The ONE KILN logo embodies two meanings: the 'flame' that emerges from the kiln and the 'light' of the sun. It reflects the idea that where there is fire, people gather, and the largest gathering place is under the sun.

ONE KILN

Our brand began in 2008, in a small garage. We installed a single electric kiln in a tiny space—barely big enough for one car—and thought, “With just this kiln, we can bring any idea to life. We can create with anyone.” I still remember how excited I felt.