Hamada, Shoji
 

Shoji Hamada was born in Tokyo in 1894. At the age of nineteen he started to study ceramics at Tokyo Technical College, and two years later spent some time touring Japan's traditional pottery sites. In 1918 he met Bernard Leach, and within a year the two men were working together at Abiko.

In 1920 they both came to England and Hamada helped Leach build the climbing kiln for the St Ives Pottery. He gave two exhibitions at Paterson's Gallery in London in 1923, and then toured Europe and returned to Japan. He exhibited again at Paterson's in 1929 and 1931, and in 1932 went to the United States with Leach. During the next three decades he made many more trips to the USA.

He is regarded as one of the most influential masters of studio pottery, and has probably inspired more potters than any other figure. The simplicity of his designs gives them urgency and power. This man, who was once declared a 'national living treasure', is certainly the jewel in studio pottery's crown. He died in 1978.

Further Reading:	Hamada, Potter by Bernard Leach and Warren MacKenzie
	Bernard Leach, Hamada and Their Circle by Cornelia Wingfield Digby and Tony Birks

Leach Pottery
 

In 1920 Leach and Hamada made the journey half-way around the world to set up a pottery at St Ives in Cornwall. St Ives had long been an artists' colony, and the pottery was built with the aid of a grant from the Handicrafts Guild.

The first kiln, which was wood-fired, was made with three climbing chambers, each six feet high, six feet wide and four feet deep. This was the first of its type to be built in Britain, and was a disaster. In 1922 Leach had to ask Tsuronosuke Matsubayashi to come from the Asahi Pottery in Japan to re-build it. Matsu stayed for two years and was a tremendous influence on the St Ives potters. His knowledge of the chemistry of ceramics was a great help and something of an innovation to Leach who had been concerned primarily with the aesthetics of pottery rather than the technical aspects.

Leach and Hamada were like-minded and worked and relaxed well together. Their ideal was a fusion of arts-and-crafts principles and a desire to make pots of classic, simple beauty. Early English and Eastern designs in pottery were their paradigm.

The early years were fraught with failures. Many firings were unsuccessful, and expenses were high. There was also a lack of acceptance in many quarters of the work, which often appeared crude by the standards of the day. Even so, there were successful exhibitions in St Ives and in London, and many pots found an eager welcome in Japan. Hamada returned to Japan in 1928, but frequently visited St Ives.

The pottery was home to a succession of students and apprentices that almost comprise a complete who's who of studio pottery, Michael Cardew heading the list. Every student and apprentice was taught that his first aim should be to throw to a standard; to be able to execute repetitive work accurately. Only when this was achieved, said Leach, could a potter call himself a thrower rather than an improviser. Leach's sons, David and Michael learnt their craft at the Leach Pottery before taking part in regular production and management.

The post-war years brought more success and critical acclaim, perhaps helped by Leach's writing. He continued potting until 1972 with the help of William Marshall, his very first apprentice, and died in 1979. The pottery remained open under the direction of Bernard's wife, Janet Leach. After her death in 1999 it was bought by businessman Alan Gillam, owner of the Western Hotel in St Ives. Trevor Corser and Joanna Wason are the main potters. The Pottery Cottage, next to the pottery, is now open as a museum, showing many examples of work of the fine potters who have contributed to the astounding reputation of the Leach.

Further Reading:	Bernard Leach, Hamada and Their Circle by Cornelia Wingfield Digby and Tony Birks
	A Potter's Book by Bernard Leach
	Bernard Leach by Edmund de Waal
	The Leach Legacy by Marion Whybrow