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Show Raku Workshop Held in Moab Interesting for Instructor Admidst the red clay and sand of southern Utah, the centuries old art of raku witnessed a revival. Robert Piepenberg, profes-for profes-for of art at Oakland Community Commun-ity College, Michigan, taught a workshop on raku through the Utah State University Southeastern Utah Center for Continuing Education in Moab. Mo-ab. Piepenberg defines raku in his book, "Raku Pottery," as a low-temperature technique of firing porous, low bisque fired (already fired) pottery. It usually has a lead glaze. "Raku is a form of ceramics that has been around for some 400 years. It developed with the growth of the Japanese tea ceremony, an aspect of Zen Buddhismi If began to grow in popularity in the U.S. during the 60's," Piepenberg ex- plains. A recent American contribution contribu-tion is the reduction process. Whereas the traditional method meth-od was to air or water cool the piece, which does little to alter the color and glaze, the American artist has begun to place the piece in an oxygen-free oxygen-free atmosphere while it is hot. This results in a smoky gray or jet black clay body and a metallic or iridescent luster to the glazes, typical of modern raku. Piepenberg believes the association of the zen tea ceremony and raku was no accident. Marata Shuko is widely credited with having founded the tea ceremony, he explains. "When Shuko was a young priest, he continually fell asleep in the temple. A doctor prescribed tea as a stimulant, friends. He was subsequently ordered to arrange a ceremony for tea drinking," Piepenberg explains. ' A disciple of Shuko's took the ceremony further, introducing introdu-cing the concept of wabi or the avoidance of luxury and falsity. Although many kinds of tea bowls were used in the ceremony through the years, rakuyaki or raku bowls were favored by many because they were pleasing to touch and conveyed the feeling of tranquillity tran-quillity essential to wabi. Piepenberg does not limit his students to the making of tea bowls. "Raku is a technical process in clay. I use it as a means to turn heads to new ways of perceiving and interacting with clay," he explains. He believes the general area of ceramics is changing . in America. "The entire nature of ceramics is moving rapidly from a craft to the fine arts area. Raku is just a part of it. Raku pottery is functional, but not as practical as stoneware. This reflects another change in the American acceptance of pottery. It is being appreciated for its aesthetic value, not just its practical value," Piepenberg Piepen-berg believes. Not only do the students learn during this workshp, but Piepenberg feels he learned some thing. He took advantage advant-age of free weekends to travel through the Canyonlands area. "Teaching workshops in "various places is a way 'for "me to grow too-through travel," he concludes. |
