ChawanExpo Singapore Catalogue

,
, 97
SINGAPORE
141 International Chawan Makers

EXPO Gallery:
Ngee Ann Cultural Centre, Ngee Ann Exhibition Hall,
Teochew Building, 97 Tank Road
6 - 14 September 2014
Organized and directed by: Steven Low Thia Kwang
Colophon
INTERNATIONAL Chawan EXPO SINGAPORE 6th SEPT to 14 SEPT 2014

141 Famous International Chawan Makers Selected by Mr Lou. Smedts
EXPO gallery: Ngee Ann Cultural Centre, Exhibition Hall
EXPO seminar: Ngee Ann Cultural Centre, Auditorium Hall
EXPO masterclass: Thow Kwang Industry Pte Ltd
EXPO wood firing event: Thow Kwang Dragon Kiln
Founder of Chawan expo project, curator: Lou Smedts, Germany
Organized and directed by: Steven Low Thia Kwang, Singapore
General manager: Ng Yang Ce, Singapore
Public relation: Esther Ng Yi Si, Singapore
Catalog design: Branko upica, Atelier Janja Gora, Croatia
English text: Daphne Reist, USA
Chinese translation: Daphne Reist, USA, with assistance from Ng Yang Ce, Singapore
DTP and prepress: Branko upica, Atelier Janja Gora, Croatia
Print: Wincraft Printing Service, Singapore
Date: Sept 2014
Production Grant Support:

Venue Sponsors:
Support:

Foreword Prof. Lou Smedts
Lou Smedts
A tea bowl as art? Even today after nearly ten years of the international
Chawan expo project, I notice that some artists see a tea bowl as an insignificant disposable object that has nothing to do with art. Certainly not with
their art. Inviting them to something so piddling as a tea bowl expo? How
silly can one be!
Well some artists have a big ego and I let them think whatever they want.
And just prove them wrong with each successful Chawan expo. In the 10
years the project has existed I selected hundreds of exceptional talented
artists that take on the challenge to make a tea bowl. Many of them making
tea bowls for the first time. They immediately felt that making a good tea
bowl is surprisingly difficult. But being an artist means pushing the boundaries of personal knowledge and techniques to obtain a very personal and
unique work of art.
I select only from the photos of the works, looking for character, ones own
style and love for the object. In short bowls with a soul, giving people a
good feeling when they see them and experiencing a unique enjoyable taste
when they drink tea out of them.
Thats what I want the audience to experience at the expos of this project. I want them surrounded by tea
bowls that mirror the feelings and character of the artists. Each and every of these tea bowls tells his own
story. Thats the reason I designed this project, to let the visitor look in the artists heart!
Ten years is a very long life time for an art project; it has to be good to survive that long. During this time
there were not only steadily growing participation numbers but also friendship between the participants;
they comment on each others work, exchange photos, techniques and more. A situation that made the
expo project grow on another level as well.
Im glad that I can open doors and create opportunities for the many talented artists in the project.
Without them I could not have built out the project as it is now, and I feel that it is our friendship that
makes the project so unique.
Growing in importance with every expo, this project created a wave of young artists that started making tea
bowls even in countries that do not drink tea! Their enthusiasm and exceptional talent warms my heart every
time I start with the selection of the participants for a new expo. Its great to see how well-known artists
with high status are willing to expo together with young upcoming artists with talent. Harmoniously, their
tea bowls standing next to each other, getting respectful comments from everybody that visits the expo.
Chawanexpo - Taiwan 2013
As is usual in a large-scale project, there were discussions along the road, differences in opinion and ego
clashes. Some participants stepped out and others joined in. I thought of this coming and going as a
plus and made it our trademark. Henceforth every exhibit was to be unique.
During the process I had to make difficult decisions and sometimes say no to an expo in great places
when I felt that the conditions were not right. Preparing, organizing, calculating budgets and coordinating everything all this became too much for one person, so I started delegating the responsibility of the
expos to the local organizers. That evolution changed the concept and execution of the expos in a way
that every expo now expresses the style of the organizers.
For this expo in Singapore, Steven Low Thia Kwang and Ng Yang Ce took on the responsibility for the
organization. Two young artists, enthusiastic from the first moment they took on this enormous challenge
with little or no experience in organizing this kind of extremely large international expo event. They had to
learn fast and make decisions on every front to make this expo their very own.
Foreword Prof. Lou Smedts
Lou Smedts
Without people like this the project would
never grow that big and important. Others
who made the difference in the project are
the people of my Chawan team, a close circle
of friends that has worked on every expo
since the beginning. Like Branko upica who
designed nearly all catalogues and printing
matters, throughout the project. Daphne Chang
Reist who translated and corrected the texts for
two catalogues already. Kuei-Wei Chang who
selects the Asian participants for the expos.
The ladies from the expo set-up team who
make sure that every work gets the place it
deserves even if they have to reset everything
ten times to get it perfect.
Thank you ladies, you made the difference for
the participants, placing their bowls on the
right spot!
I also thank all the friends who help each in
their own way to make the project successful.
And last but not least each and every participant without them organizing this project
would not be possible.
Coming at the end this letter I particularly want
to thank you, dear reader, for visiting the expo
and buying this catalogue. I hope you enjoy
reading it, while you drink tea out one of the
exceptional tea bowls from the expo.
You will remember me saying, Art is what you
feel inside.
Prof. Lou Smedts
Founder of the Chawan Expo Project
......
Branko Supica
(Daphne Chang Reist)
Lou Smedts
Chawanexpo - Singapore 2014
Foreword Steven Low Tia Kwang

Chawan Expo is an international exposition initiated by German curator and
ceramic master, Mr Lou Smedts. Each year, the exposition tours the works
of Artists from all over the world, and hosts these artists with seminars and
workshops. This year, my assistant Ng Yang Ce and I have secured the connection with Lou to hold the 16th International Chawan Expo in Singapore.
Lou Smedts
Ng Yang Ce Lou Smedts
The 16th International Chawan Expo- Singapore is a 9 day event, showcasing 423 works from 141 selected artists from across the world. It runs from
6th Sept to 14th Sept 2014, with its official opening on 6th Sept 7pm
at Ngee Ann Kongsi Cultural Centre. Within the 9 days, there will also
be a Dragon Kiln Wood Firing session held at Thow Kwang Pottery Jungle,
where Artists can bond through the whole process and share their ceramics
knowledge with public audiences. Various well known international ceramic
masters such as Steve Harrison (Australia), Ray Meeker (India/USA),
Jui-Hua Lin (Taiwan), Kurt Spurey (Austria), will also be participating,
some of which are coming to Singapore to conduct the seminars and
master-classes. As for our own local potters, we are proud to have Iskandar
Jalil, Peter Low Hwee Min, Jessie Lim, Alvin Tan Teck Heng as well as
other fellow pioneers and important ceramic advocates with us.
Steve HarrisonRay Meeker/JuiHua Lin Kurt Spurey

Iskandar Jalil Peter
Low Hwee Min Jessie Lim Alvin Tan Teck Heng
Among the 141 international Tea Bowl makers, 37 of them are local participants. Thus, we believe that more and
more local artists are willing to come forward and share their expertise with one another. We hope that establishing
these connections at an International level will heighten the overall local ceramic art scene, allowing greater public interest in these fine works of functional art.
The preface to the Chawan Expo has already begun with a leading event: Masterclass Chawan Chado, successfully
held across July and August. The master class combines Japanese tea ceremony and ceramic making into one cohesive
experience, where the Chawan can be appreciated at a more intimate level. The participants created their own ceramic
bowls, participated in the firing, and later drank tea from their own artworks.
Also, we have extended work to construction at Thow Kwang Pottery Jungle, designing and setting up an exhibition
hall to show case wood firing works from the firing of our local
dragon, which will be part of the program during the exposition
week.
Chawan Expo Singapore is a self- initiated project. It wouldnt be
possible without the strong support from fellow ceramic enthusiasts
and those who believe in the good cause of this exposition. Our
heartfelt thanks to all artists, sponsors and supporters for their
participation and contributions. And may we have a good show.
Steven Low Thia Kwang

Ceramist
Organizer of Chawan Expo Spore 2014
Creative Director of Clay Journey.sg
Residential Artist of Thow Kwang Pottery Jungle
Branko upica, Atelje Janja Gora, Croatia, Chawan story

Some time ago, in 2005, the word came to us about the international
exhibition being organised by Mr. Lou Smedts.
It was the beginning of a great journey, still lasting. Now, years later, it
has become a part of our life- and work philosophy. In times past we
discovered the spirituality and tradition that lie behind the traditional Zen
tea ceremony, finding everlasting connection between peoples and cultures
over the globe.
From 2009, the year when we organised our international workshop
dedicated to traditional Eastern glazes and techniques, focused on Chawan,
we became an active partner in the promotion of this wonderful idea and
initiative. The way of Chawan became a way to meet new friends, to visit
new places, to raise awareness of the world of tolerance and friendship.
As one unspoken and yet clear word, as one undeclared and yet powerful
emotion, exhibitions followed one another. People came and went as the
flow went on. Some of our artist friends expected a sort of instant fame;
when it did not come, they left. Others just started their own Chawan
adventure, revealing the secrets and traditions of Zen in themselves. All of
us just tuned into the universal field of mutual respect, understanding, and love for art, wisdom and mankind. We all
do just that. The sphere is open, and we are filling it in with our own contribution, like a teacup filled with fine tea.
, Branko upica
2005Lou Smedts
2009
Lou
Based on these principles, we are building our small atelier following this universal law. By doing that we have been
blessed by a great network of friends all around the world, people sharing the same view, same philosophy. It has
given us great strength to overcome many institutional, ethical and spiritual obstacles along the way, just by knowing
that there are others in the wide world thinking and doing the same as we do.
Project Chawan is something that embodies all of this in one material, visible form, well known to those who
participate. The ancient spirit of the great tea ceremony masters has found its way to the most hidden and distant
places, through a simple tea bowl. There is no better way to demonstrate earthly forces working through people
and their deeds.
Lou
I would like to express our gratitude to higher forces working through all of us, to people like Lou Smedts who have
recognised the right moment to do the right thing, to all participants in this great project, and all who took part in
many aspects of this journey, helping just because they wanted to.
The Chawan Expo has already a long journey behind it. It has passed beyond us in the sense of importance and sustainability. This journey will go on, based on these principles, for many years to come. Or it may not that would
be as acceptable as any other option. We are just lucky enough to share this moment, and therefore we are thankful.
Branko upica
International ceramics centre

Atelier Janja Gora
Croatia
Branko upica
A brief history regarding the tea ceremony and Chawan

In China, the art and practice of drinking tea is about much more than
merely soaking leaves in a cup of hot water. The tradition is rooted in
Daoism, and emerged from a philosophy that honored living a life of
grace and gratitude, balance and harmony, fulfillment and enjoyment what the ancient Chinese called Cha Dao, or the Way of Tea.
Lu Yu, an 8th century Chinese poet, was born in an age when Buddhism,
Taoism, and Confucianism were seeking mutual synthesis. In his celebrated
work the Cha Ching, for many the holy scripture of tea, he formulated a code of tea. He has since been worshipped as the titular god
of Chinese tea merchants. His book has four chapters in which Lu Yu
describes the plant, the leaves, the gathering of the leaves, and in the
fourth he describes the twenty-four pieces of the tea equipment, beginning with the tripod brazier and ending with the bamboo cabinet for
containing all the utensils. Through this we notice Lu Yus predilection
for Taoist symbolism, and for the first time there is a clear reference to
the influence of tea on Chinese ceramics.
The celestial porcelain, as is well known, had its origin in an attempt
to reproduce the exquisite shade of jade resulting, in the Tang dynasty, in the blue glaze of the South, and the white
glaze of the North. Lu Yu considered the blue glaze as the ideal color for the tea cup, as this lent additional greenness to the beverage. Later on the tea masters of Sung took to the powdered tea and preferred heavy bowls of blueblack or dark brown. The Ming dynasty with their steeped tea, used light ware of white porcelain again.
It was Lu Yu who described the method of making tea for the first time. According to him the mountain spring is best;
the river water and spring water comes next in order of excellence. There are three stages of boiling: the first boil is
when the little bubbles like the eye of fishes swim on the surface, the second boil is when the bubbles are like crystal
beads rolling in a fountain, and the third boil is when the billows surge wildly in the kettle. Salt is put in the first boil,
the tea in the second, and a dipperful of cold water in the third boil, to settle the tea and revive the youth of the
water. Then the tea is poured into the cups. This describes the tea ceremony in the 5th century. It was such a delight
that Lu Tong, a Tang poet, wrote:
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A brief history regarding the tea ceremony and Chawan

The first cup moistens my lips and throat
the second cup breaks my loneliness,
the third cup searches my barren entrail
but to find therein some five
thousand volumes of old ideographs.
The fourth cup raises a slight perspiration,
all the wrong of life passes away through my pores.
At the fifth cup I am purified;
the sixth cup calls me to the realms of immortals.
The seventh cup ah, but I could take no more!
I only feel the breath of cool wind that rises in my sleeves.
Let me ride on this sweet breeze and waft away thither.
All this writing created considerable sensation at the time; Lu Yu was befriended by Emperor Daizong (762-779),
and his book attracted many followers in high ranks. Through time the tea ceremony evolved; Emperor Huizong
(1100-1126) was a great artist and a well-behaved monarch, he wrote a dissertation on twenty kinds of tea, among
which the white tea as the rarest and finest quality.
This history, and the older way of drinking tea, is rarely known in the western world. Thats because the fact that
Europe knew of Chinas tea cult only at the close of the Ming dynasty. Therefore I write it down, but the romance of
the Tang and Sung ceremonials are gone forever; except for these old writings there is no complete explanation of the
ceremony.
Moving to Japan, in 729 Emperor Shomu gave tea to one hundred monks at his palace in Nara. In 805 the monk
Saicho brought back some seeds and planted them in Mt. Hiei. That was the beginning of the many tea gardens in
Japan. The Uji district near to Kyoto bears the reputation of producing the best tea in the world. And by the 15th
century, under the patronage of Shogun Ashikaga Yoshimasa, the tea ceremony is fully established in Japan.
Tea master Rikyu says that a tea master strove to be something more than the artist -- he has to be art itself.
He quotes an old poem: To those who long only for flowers, fain would I show the full-blown spring which abides
in toiling buds of snow-covered hills. Manifold indeed have the contributions of the tea masters to art; they completely revolutionized classical architecture and interior decorations. All the celebrated gardens in Japan are laid out
by tea masters. Japanese pottery would probably have never attained its high quality of excellence if tea masters
had not lent to it their inspiration, the manufacture of the utensils used in the tea ceremony calling forth the utmost
expenditure of ingenuity on the part of ceramists. The seven kilns of Enshu are well known to all students of Japanese
pottery.
Great as the influence of the tea masters has been on the field of art, it is nothing compared to that which it exerted
on the conduct of life. Even today their influence is still strong in Japan and even in Western art; especially in ceramics the Japanese influence is growing stronger. More people are becoming aware of the old techniques and values.
With our Chawan project we throw a pebble in the water, that creates waves, in which more ceramists start making
Chawans and study the way of tea. Im sure thats a good thing there is a need for respect and harmony in the
world.
Lou Smedts
Text established with some extractions from
The Book of Tea 1906 from Okakura Kazuzo
Lou Smedts
1906
Alan Birchall, UK Alvin Tan Teck Heng , Singapore Alvin Tan Yuan Kiat , Singapore Amy
Yin Ling Yeung, Hong Kong Andrew Walford, South Africa Anja Slapniar, Slovenia Anthony
Gaudino, USA Ariane Artignan-Coissieux, France Bathma Kaew-Ngok, Thailand Bhavani Sivalingam,
Singapore Branko upica, Croatia Brigitte Papazian, Switzerland Brigitte Reuter, The Netherlands Chak
Kwok Sun , Singapore Chen-Ching , Taiwan Chen Hong , China - Singapore Chen Lin
, Taiwan Chi-H ao Lee , Taiwan Chih-Ying Huang , Taiwan Chiung-M ing Chen ,
Taiwan Choo Kathryn Kng , Singapore Chris Prinsen, Belgium Christine Waxweiler, France Chuan
Siang Boon , Singapore Cornelia Troesch, Switzerland Dalloun, France Danijela Peut, Croatia
Danny Kostyshin, Canada Delphine Sng , Singapore Dominique Lopez - Aymonier, Switzerland
Douglas Black, USA, Japan Earthen Lee , Taiwan Elena Renker, New Zealand Elizabeth Cohen,
Israel Ellen Levenhagen, USA, Singapore Ellen Schn, USA Els Janssens, Belgium Encarna Soler Peris,
Spain Eric Franchimont, Belgium Eva Brandt, Denemark Evi Kienast, Switzerland Felicia Tng ,
Singapore Fien Monsieur, Belgium Francis Poon , Singapore Frank Theunissen, France Genevive
Meylan, Switzerland Gerda Genijn, Germany Gilles Jaure, Israel Hein Janssen, The Netherlands
Hetty Lie Schricke, Singapore Hiroko Mita, Japan, Singapore Hsien-Ling Fan , Taiwan Imke
Splittgerber, Germany Iskandar Jalil, Singapore Jack Lin Taiwan James Ferrante, USA Janice
Hunter, Denmark Jean-Pol Urbain, Belgium Jessie Lim , Singapore Jianxin Xu China
Jing Om , Taiwan Jirawong Wongtrangan, Thailand Jo-A nn Yang, Singapore Jocelyn Hee,
Australia John Baymore, USA John Oles USA Jui-Hua Lin , Taiwan Kanoknat Promnakon,
Thailand Kareen Le Portier, France Karen Helen Loader, UK Karen Mahoney, USA Kathrin Najorka,
Germany Kevin Crowe, USA Kim Joo Goh , Singapore Kridtayot Coming, Thailand Kuei-Wei
Chang , Taiwan Kurt Spurey, Austria Lauge Brixvold, Denmark Lee Yuen-Shih , Singapore
Liang-Chung Wu , Taiwan Lim Chye Leong Tom , Singapore Lim Ibsen , Singapore,
Japan Lim Kim Hui , Singapore Linda de Nil, Belgium Lisa Brummel, Australia Lou Smedts,
Germany Low Kok Hwee , Singapore Lucien Koonce, USA Lum Shuk Yee Venisa, Singapore
Madhvi Subrahmanian, India, Singapore Marc Lancet, USA Marie-Anne Ver Eecke, Belgium Marisa
Recchia, USA Marita Braet, Belgium Mark Tyson, USA Marthe Vanhoutte, Belgium Martine Rmy,
Belgium Mei-Yun Huang , Taiwan Merrie Tomkins, Australia Ng Yang Ce , Singapore Ong
Lay Lay , Singapore Pang Swee Tuan Singapore Patricia Cassone, France Paul Drapkin,
Ukraine Paula Groote-Versteegen, The Netherlands Peter Kuo , Taiwan Peter Low Hwee Min
, Singapore Pierrick Lacord, France Ray Meeker, India Ria De Troch, Belgium Richard Heeley,
UK Rick Mahaffey, USA Rowland Drysdale, Australia Sandra Mihaljevi, Croatia Sandy Lockwood,
Australia Sathorn Cholachatpinyo, Thailand Sebastian Moh, USA Sekporn Tansripraparsiri, Thailand
Shee Bee Heo , Singapore Shih-Chien Weng , Taiwan Shu Chen , China Soh
Keng Thiam Singapore Somkane Kiatkong, Thailand Sophia Teng , Taiwan Steen Kepp,
Sweden Stella Tan Si Hui , Singapore Steve Harrison, Australia Steven Branfman, USA Steven
Thia Kwang Low , Singapore Thomas Akira Arakawa, USA & Japan Toh Kiam Hock ,
Singapore Tom Charbit, France Veronica Newman, France Vincent Lim Huong Siong , Singapore
Yami Carlino, Argentinia Yan Ling Loy, Singapore Yoko Asai, Japan, Singapore Yu Li Yuan Liff
, China Yu-S heng Lin , Taiwan Yu Wei Su , Taiwan Zstro Leow , Singapore.
Participants
Alan Birchall, UK
Alan Birchall
Attending several workshops led by Japanese potters, one a tea
master, had a profound effect on me. I became fascinated by the
devoted way in which they crafted their Chawan and by the whole
tea experience.
Watching the masters create Chawan by hand and witnessing the
peace of the tea ceremony inspired me to explore further and to
begin to make these wonderful vessels. I now make them on a wheel
or more often by pinching and carving, a more intimate process. Each
one starts from a similar ball of clay but then begins to develop its
own individual form and character which becomes enhanced by local
clay slip and ash glaze decoration. The reaction of visitors to my
pottery when I talk about Chawan and the pleasure they derive in
handling them serves to convince me of their importance.
Alan Birchall
Red Lion Pottery
228 High Road
Chilwell, Nottingham
NG9 5DB, UK
alan.birchall@me.com
www.redlionpottery.co.uk
Nothing in ceramics exceeds the tactile experience of a beautiful

Chawan cupped in ones hands.
Alvin Tan Teck Heng , Singapore
Alvin Tan Teck Heng
Chawan...
a humble object yet it is one of the most difficult item to make.
To make something simple and yet elegant is most challenging for me.
Over the years, I have been intrigued by the unknown potters who
make these elegant and yet simple Chawan.
My utmost respect for them... Chawan and the unknown potters...
Alvin Tan Teck Heng

17K Jalan
Hock Chye
Singapore 538203
alvintan1@me.com
alvintanteckheng.wix.com/ceramics
.....
Alvin Tan Yuan Kiat , Singapore
Alvin Tan Yuan Kiat
An Indian potter once told me, I dont make Chawan because Im not
Japanese.
The global development in todays studio Ceramics context is evident of
Japanese Ceramics influences, in particular the Teabowl or Chawan.
It has indeed become a norm for clay practitioners of other cultures,
aside from the Japanese or East Asians, to produce the Chawan.
The status of the Chawan in Ceramics practice has been fairly well
established. Yet I personally find that there is a gap between the artistic, ceremonial Chawan and its practicality, its place in domestic ware.
My current practice of vessel production is a search to bridge this gap.
These Chawan are slip-casted from a commercial porcelain body and
color slips, glazed and fired to Cone 9.
Alvin Tan Yuan Kiat
Alvintan79@hotmail.com
Amy Yin Ling Yeung , Hong Kong
Amy Yin Ling Yeung
I never think of being an artist in my life and my path of working with

ceramic, block printing and sculpture all happened incidentally in recent
years. I started my journey with clay in 2011.
With peace and tranquility, I find myself reconnecting with nature,
gaining the strength to endure hardship and to treasure what I have.
I am not dexterous but I work wholeheartedly. My works depict my
joys, sorrows and changes over time. Every one of them is unique and
distinctively represents part of me.
Amy Yin Ling Yeung

yeungyla@hotmail.com
2011
Andrew Walford, South Africa
Andrew Walford
The tea bowl for me epitomizes all that I am aiming to achieve

in my craft and philosophy. When I see a tea bowl my first instinct
after looking is to touch and then use. Where does ones eye rest on
the piece? Does it follow the shadows and plains, the colours and
textures representing different areas of nature - a weathered rock face
with lichen?
Like a child one must touch and put the tea bowl to ones mouth
Is one pleasantly surprised, or let down? Then, does it reveal how the
potter works? What are his philosophy and values? Working on a slow
rhythm or fast, generous or economical?
Andrew Walford
P.O. Box 1912
Hillcrest, Kwazulu Natal 3650
South Africa
andrewwalford@telkomsa.net
facebook: Andrew Walford
andrewwalfordpottery.com
For me I have been taken on a long journey by the tea bowl which
started seriously in the 60s, watching Shoji Hamada work. Happily
I am still looking and listening, entranced on a daily basis, sometimes
experimenting with age-old African clays and sand, sometimes rhythmically repeating what I have been doing for over 50 years - but always
totally isolated in my mountaintop studio in Shongweni Kwazulu Natal.
I dig my clay in the Kwazulu Natal Midlands, then throw on a selfdesigned momentum wheel and fire in a 250 cu. ft. oil kiln to
1360C.
-
...
60
50-
Shongweni Kwazulu Natal
Kwazulu Natal Midlands
2501360
Anja Slapniar, Slovenia
Anja Slapniar
Years ago I bought my first Japanese Tea Bowl. Then I did not know
its rightful purpose, I bought it simply because I adored its shape, and
I used it for cereals, soup, ice cream, as well for all kinds of food. I was
always drawn to simple and humble Japanese ceramics. After reading
about the Japanese Tea Ceremony and experiencing it during my visit in
Japan, I became aware that the Chawan is a special cup. I now use it
for tea only.
With tea in the Chawan I become calm and enjoy the moment; being
simple but providing an extraordinary experience, these are the teachings of the Japanese Tea Ceremony. All these thoughts are on my mind
when I am making a Chawan.
Anja Slapniar
Ulica Prvoborcev 35
1000 Ljubljana
Slovenia
+38640534203
delavnica@anjaslapnicar.com
www.anjaslapnicar.com
Ariane Artignan-Coissieux, France
Ariane Artignan-Coissieux
Ariane is a Master Potter and Ceramist whose creations are founded

on her in-depth research and expertise in the chemistry of glazes and
their firing. She enjoys working with the wide palette of possibilities
that springs from her individual mix of artistry and imagination, ranging from delicate to grand scale and from figurative to abstract. Her
creations blend the aesthetic with the functional, precise down to the
smallest detail.
Ariane creates unique pieces in stoneware and in porcelain, from
teapots to washbasins, including monumental wall-sculptures and
customised tiles, sometimes in relief, featuring horses, dragons, flying
saucers going where her imagination leads her.
Currently emerging from her studio are delicate pieces and lamps in fine
translucent porcelain.
Ariane Artignan-Coissieux
AGIR Cramique
Architectural design
Ferme de Rgagnas
30770 Alzon
France
acx@agir-ceramique.com
www.ceramique-deco-maison.com
www.expression-ceramique.com
Influenced by the culture of the far East, her father Christian

COISSIEUX was preparing an exhibition entitled 1001 Bowls when
his life was tragically curtailed. Ariane continued that work, as promised, and finally achieved the opening of the exhibition in 2009. With
their moving purity of line, these Chawan embody the precise gesture
completed in a whisper, and wear the subtlest of glazes.
Ariane
Christian COISSIEUX
1001 Ariane
2009
Bathma K aew-Ngok, Thailand
Bathma K aew-Ngok
Clay, water, wind, fire, wood, and me... play together.
Bathma Kaew-Ngok
studio : BKK
Thailand
bathm9@gmail.com
+66 85 0613790
....
Bhavani Sivalingam, Singapore
Bhavani Sivalingam
The inspiration for my work primarily comes from a fascination for

Japanese ceramics and Scandinavian design, as I aim to create quiet,
minimal hand thrown ceramic vessels.
Chawan epitomizes this concept, being always functional, but the clean,
clear sculptural silhouette also offers an ornamental purpose. Constantly
experimenting with slight variations of form and function of the Chawan
keeps me continuously challenged.
Bhavani Sivalingam
29 Angullia Park, #16-01
Singapore 239977
bhavani_sivalingam@hotmail.com
Branko upica, Croatia
Branko upica
Chawan. I see it as an object of timeless communication. An object that
bridges centuries over time, reaching out for a hand to touch it; far more
than just tea drinking.
It has spanned a web over the entire world, just for us to enjoy - the
idea that thanks to Chawan I now have hundreds of friends all over the
world, sharing the same vision. Reason enough to keep making them.
Branko upica
Atelier Janja Gora
47304 Plaki
Croatia
bsupica@janjagora.com
www.janjagora.com
Brigitte Papazian, Switzerland
Brigitte Papazian
To get up in the morning

With the desire, an indefinite idea,
Of modeling one Chawan or more
Fills me with energy,
The same one Ill be trying to pass on to clay.
I let my thoughts and my fingers
Follow and catch the form of the bowl,
Then, using all kinds of objects
Collected during my walks
I work on printing natural textures onto the Chawan.
Afterwards comes the fire,
With the help of engobes and glazes,
It becomes the accomplice of
Me creating Chawan.
Brigitte Papazian
8, Chemin des Champs-devant
1233 Sezenove
Switzerland
brigittepapazian@bluewin.ch
www.ceramique-papazian.ch
Brigitte Reuter, The Netherlands
Brigitte Reuter
As a young girl I travelled in Japan, an experience that influenced me

in later life. I was impressed by the aesthetic principles of Japanese
culture, especially by the art of ikebana and the tea ceremony - wabicha
- and the special role of the tea bowl.
When I started to make my own ceramics one of my themes was the
tea bowl. Through Kees Hoogendam, whose work is inspired by the
Japanese tradition, I came to see the beauty of the imperfect. Making a
Chawan requires spontaneity and making room for the relative.
In many of my tea bowls I apply salt glazing in a gas-fired kiln, which
makes space for the unplanned and offers a pleasant surprise, when
opening the kiln, to observe the transformation from clay to a ceramic
piece - from powders, oxides and salt to a glaze.
A Chawan is born.
Brigitte Reuter
Brigittenstraat 12
3512 KK Utrecht
The Netherlands
info@keramischatelierutrecht.nl
www.utrechtseaarde.nl
Kees
Hoogendam
width 11,5 cm x height 9 cm
Chak Kwok Sun , Singapore
Chak Kwok Sun
Art of Zen by Chak Kwok Sun

Simple is the way. One transparent glaze decorates all, letting nature
present itself through the beauty of the stoneware.
This seasons set of Chawan are elegant, beautiful, yet functional.
The white porcelain with the transparent glaze over it naturally offers
a smooth drinking surface. The simple transparent glaze also tamed the
multi-grooved Raku stoneware from its coarseness, making it easy on the
hands, yet retained its raw beauty giving the Chawan a unique character
without complex decoration. Lastly, fine stoneware for the foot, letting
the Chawan serve its purpose naturally without scratches on surfaces on
which it is placed.
Chak Kwok Sun

Tel: +65 97925754
Singapore
chakkwoksun@gmail.com
www.facebook.com/pages/
Chaks-Ceramic-Art-Gallery/544601182251412
Simply being themselves in their original nature is the art of Zen.

I wish that one be blessed with a free mind when enjoying Matcha from
this set of Chawan throughout the year, even in the cold winter and the
warm summer.
Chen-Ching , Taiwan
Chen-Ching
Different dynasties in Chinese history have their unique styles and

features in ceramic art. Their forms, glazes, and techniques have been
my creative focus, my aim for a breakthrough. I have studied various
throwing methods to extend the potential of and fluency to the
traditional ceramic forms, and explored glaze recipes to breathe new
life into traditional ceramics. The innovation takes into consideration
function and form.
Innovation through tradition - In the evolution of ceramics in Chinese
history, we noticed similar forms and ornaments at different periods;
yet they were presented with the unique flavor and style of their time.
Therefore, I constantly reflect on the possibilities of new breakthroughs
in the traditional forms and experiment with changes in glazes and
ornaments, hoping to present traditional ceramics with modern aesthetic
sensibility.
Chen-Ching
No.264, Sec.2, Chung Yang Rd,
Wuchi, Taichung, 4
35-42 Taiwan
886-912-626-484
ching6t@yahoo.com.tw
http://ching.tw/
www.facebook.com/ocarina.ching
Clay body creation - Using a traditional form as a starting point,

I refine the clay body to make it more streamlined and with a
modernistic feel.
Glazing - Using the unique characteristics of yellow antimony tin glaze
that expels other glazes and the natural flowing effect of the ash glaze,
as well as slip, painted ornamental texture with natural lacquer finish,
my works present the tradition in an innovative new style.
Chen Hong , China - Singapore
Chen Hong
There must be a spiritual connection among tea, tea bowl and tea lover
in the moment of drinking. It is poetic and could be captured, revealed
or stimulated via the process of tea bowl making, I believe. Again and
again, it celebrates the fantastic dancing of nature: clay, glaze, water,
fire, wind, straw, leaves, flowers by which one can truly experience
the essence of Chinese culture , the unity of nature and men.
It was exhausted but enjoyable to explore the possibility of ceramic
expression. Surprisingly, the flower of forget me not could bring out
a heavenly blue pond in the center of a silent dark bowl, whereas a
lump of normal clay itself could be as fresh and innocent as the tea
leaves without any glazing. In a rainy afternoon, maybe you would
prefer some hot green tea carefully hold by the falling leaves stained
with cool raindrops?
Chen Hong
Ceramic House
BLK 9004, Tampines St. 93
#02-102, Singapore 528838
+65 81899026
hong990715@gmail.com
, ,
Chen Lin , Taiwan
Chen Lin
Pink and green crystals are the result of cobalt oxide.
Using an electric kiln with a high temperature of 1260 degrees Celsius,
a series of pink and green dots of different sizes appeared, as if particles
in a vast universe. Changing the temperature brought about different
effects. Such a kaleidoscopic display of mysteries is worthy of study.
Chen Lin
Chiayi City,
Third Street on the 16th
Gu chng
05-2336878, 0919898310
lintood168@gmail.com
1260,
Chi-Hao Lee , Taiwan
Chi-Hao Lee
Living with Strength

Having devoted myself to woodcarving, I learned craftsmanship and
preserved the skills in the muscle memory, since I was 14. The force
of my carving and the strength in the carved lines are the expressive
language of my vision. Imitating the patterns in nature and humanity,
I live a life expressed in wood-firing of pottery and teaware. In a simple
way, accompanying the scent of tea, my work shares every touching
moment in an ordinary life.
Chi-Hao Lee
Taiwan
02-26710108
0928-599100
lesun_lee@yahoo.com.tw
Chih-Ying Huang , Taiwan
Chih-Ying Huang
To me, pottery is the combination of science and art.

Using my hands, I made lots and lots of overlapping points with special
techniques. Each of my Chawan includes my blessing and sharing
through my heart.
When users hold my Chawan with the characteristics shaped by my
hands and fried with different colors of glaze, this is art for me.
Collected scenes in life series is a theme that I want to show.
Everybody lives in a different country and city. There are a lot of lives
and natural scenes.
Create individual scenes through my pottery bowls.
Hope you can enjoy my Chawan with me.
Chih-Ying Huang
No.12, Ln.
71, Xinjiang Rd., Gushan Dist.,
Kaohsiung City 804, Taiwan
(R.O.C.)
07-5330225
0937314945
twjing.huang@msa.hinet.net
Chiung-Ming Chen , Taiwan
Chiung-Ming Chen
My Chawan have a hand-pinched texture in a personal style and

are fired in the third generation fast wood-firing kiln I redesigned.
The structure of the kiln is different from a traditional wood-firing kiln,
and its design concept combines that of the Phoenix Kiln and the heat
exchange device. It can be used with a blower; it is easy to operate, of
small size, and it saves wood fuel.
The Chawan on exhibition were fired in only about 15 hours and one
can see the results in a variety of colors, including the dark bluish sheen
of a sea shell, lusterless dark brown and grape purple.
Chiung-Ming Chen
No. 73, Fu Cheong Street
Kaohsiung, Taiwan
feiwen.cheng@msa.hinet.net
tw.myblog.yahoo.com/ming-potter
blog.sina.com.cn/mingpotter
15,
Choo K athryn Kng , Singapore
Choo K athryn Kng
The Chawan is a highly esteemed clay form which satisfies its function as
a tea vessel and coveted for its beauty, originality and spontaneity: the
perfect vessel which challenged potters from traditional cultures and was
revered as art through the ages and a masterpiece in its own right.
A Chawan, in the context of my inheritance as a Singaporean Chinese
Peranakan with my foundation of design and concepts influenced by
British education, is merely a handmade bowl, to be used and shared
and a personal treasure to hold and fill, and worthy to be singled out
and celebrated.
Choo Kathryn Kng

+65 96447780
design@kathrynkng.com
Chris Prinsen, Belgium
Chris Prinsen
I experience functional ceramic objects like bowls, tea-pots and teabowls as synonyms for companionable meetings with family and friends.
Thats why making tea-bowls (Chawan) brings me joy and satisfaction
time after time.It always becomes a voyage of discovery in which I try to
express my feelings. For me a tea-bowl needs to render beauty, simplicity and serenity.
My fascination with Japanese, Chinese and Korean culture led me to
design my own interpretations of the Eastern tea-bowl. My Chawan
are wheel thrown and finished off with glazes that are composed by
myself often from natural ingredients and wood-ashes. They are fired in
electric, gas or wood kilns.
My goal is to make Chawan that offer a comfortable tactile sensation
and touch ones heart.
Chris Prinsen
Arendstraat 42
2018 Antwerpen
Belgium
chris.prinsen@hotmail.com
www.yakimono.eu
Christine Waxweiler, France
Christine Waxweiler
I live in the picturesque countryside of the Haute-Vienne near Limoges

(France). I studied at the Fine Art School in Nancy in 1979, in the
Art section. For several years I created bowls, but three years ago
my bond with clay became fusional. Life sometimes brings painful
moments, and after a long illness I created tea bowls with a new vision.
As I take a Chawan in the palm of my hands and feel its shape, its
texture fills me with great serenity. It is a moment of satisfaction inside
me that nothing can affect.
I mix different clays, a bowl is created at the potters wheel, and then
I transform it. Chawan are an international connection and, even if
sometimes it is difficult to speak with words, the bowls can be the
missing link; there are no borders.
Christine Waxweiler
Atelier WAX
2, Chez Bonnet
87290 Saint Sornin Leulac
France
christine.waxweiler@free.fr
http://atelier-waxweiler.jimdo.com/
I like nature and it inspires me. I am fascinated by its complex patterns,

its colors, and the bark of trees. I make my own enamel, creating and
guiding the meeting of different elements.
My work is always in evolution, thanks to several discoveries and
challenges. I am very sensitive to color and texture, and like to mix
different techniques: each Chawan is a true piece of art. Chawan remind
me of landscapes.
I find my way to harmony, between balance and imperfections. Is this
not the way of life?
1979
Chuan Siang Boon , Singapore
Chuan Siang Boon
Learning has no boundaries. Personally, I started to learn the basic skills

and knowledge of pottery making by studying and practicing the craft.
When ones foundation is built firm and strong, the artist can express
creativity and individuality, to enjoy an embodiment of ones ideas and
styles through his art works.
I believe in constant Practice, Experience and Experimentation.
Experience puts thought and observation to work as one practices the
craft, which is then objectively evaluated. Experimentation pushes the
limit as I practice the art.
My focus is on the bowls shape and form. It looks deceptively simple
but depth and skills are required to shape and achieve a flawless harmony of perfection and balance; one experiences this moment when you
hold the Bowl in your hands.
Chuan Siang Boon
Studio: 91 Tanglin Road #B1-02
Tanglin Place Singapore 247918
+65 6836 3978
+65 9247 9609
www.facebook.com/boonspottery
Cornelia Troesch, Switzerland
Cornelia Troesch
For a ceramicist and tea drinker like me, the teacup offers an inspiring
and challenging field. Like the rich aromas in the tea, there are also great
variations of tea cups, varying in material, shape, and structure.
The Chawan is a wonderful theme that opens up many possibilities for
the ceramicist. My Chawan move between two polarizing positions.
At one extreme is the Chawan made of porcelain, which is turned,
perforated, glazed, light, and utilitarian. At the other extreme is the
Chawan made of manganese clay, which is heavy, freely formed,
dark - a sculptural object.
My challenge is to find a form of Chawan that connects these two
extremes. I am working on this now, and am curious to discover what
it is.
Cornelia Troesch
Gloriastrasse 59
CH-8044 Zuerich
Switzerland
keramik@corneliatroesch.ch
www.corneliatroesch.ch
Dalloun, France
Dalloun
Seven years rich in experience, dedicated to Terra Sigillata.
This relatively simple yet fastidious technique consists of separating out
and collecting the finest particles of clay (smaller than a micron) and
using them to enrobe a raw piece of pottery. The different clays used
are foraged in the wild, then mixed with a large quantity of water and
1% deflocculant. After decantation and partial evaporation of the clayish water (approximately 4 months), the bowls are repeatedly dipped in
this slip, then polished with a soft rag. Treated in such a way, the clay is
generous, producing smooth, shiny, silky surfaces which are vitrified and
hence watertight and functional.
As a result of the iron oxide present within the clay part of the slip, the
different types of firings and the multitude of wild clays used produce a
wealth of colours and tones.
Dalloun
La Borne den Bas
18250 Henrichemont
France
contact@dalloun.fr
http://dalloun.fr/
Fired at temperatures between 950 and 1070 this fine clayish layer
is transformed, revealing an unimagined vitality. Each clay possesses its
own particular vitrification temperature, which varies according to the
origin of the clay, the quality of the slip and how thickly it is applied.
The small selection of bowls presented in this publication bear witness
to the process of transformation which begins with a gram of clay, is
followed by the covering of a bowl with slip, and culminates with its
transition by fire.
Always looking for the next sumptuous gram of clay, making bowls has
become a great source of pleasure!
1
4
9501070
Danijela Peut, Croatia
Danijela Peut
Working with Chawan has brought another dimension to my work,
one of contemplation, the dimension that leads the way to realms of
my mind and soul. Blazing a little bit of my soul in every Chawan that
comes out of my hands, I speak to the Universe and ... I wait!
Through the fire in my kiln the Universe speaks back to me.
In Chawan we are becoming One!
Danijela Peut
Atelier Janja Gora
Janja Gora 163b
47304 Plaki
Croatia
dpesut@janjagora.com
www.janjagora.com
Danny Kostyshin, Canada
Danny Kostyshin
I encourage the use and enjoyment of the handmade ceramic object,

in our daily domestic rituals around food and beverages. I believe in the
holistic ideals of potters, and their pots. All pots become part of our
personal environment and reflect a modern aesthetic, in our homes.
The intimate quality, that a functional pot allows, provides a daily
interaction with an object that is used and becomes loved for that
reason. I believe this allows for a sense of patience to develop,
something this 21st century must respect.
Danny Kostyshin
1655 Barclay street #1415,
V6G2Y1, Vancouver BC
Canada
604-251-4120
danny_kostyshin@yahoo.com
www.dannykostyshin.com
Delphine Sng , Singapore
Delphine Sng
The gracefulness of sipping from a tea bowl brings me to think gently

about the day just passed, and then I drift naturally to ruminate on my
imaginings of happenings beyond. It is a haven from the chaos and the
many distractions outside. When nothing distracts, I would choose rustic
simplicity in all things, the directness of approach and honesty of self,
with all its quirks and comedy. I like tea bowls that reflect my preference for these which I value, and to whomever may enjoy sipping from
these tea bowls, I wish them the simple joy of knowing this gracefulness
and more.
Delphine Sng
delphinesng@gmail.com
potpotterpottest3@gmail.com
Dominique Lopez - Aymonier, Switzerland
Dominique Lopez - Aymonier
I like to drink tea in a porcelain Chawan. Limoges porcelain has a soft

and silky texture, and when tea is poured in the Chawan, inside one
can see the colour oftea with the light glaze, and outside the dark
colour of the Chawan is like an elegant dress of iron glaze.
Dominique Lopez-Aymonier
Atelier de Cramique
Chemin du creux de Charpigny
1867 St-Triphon
Switzerland
Douglas Black, USA, Japan
Douglas Black
The Chawan is a vessel of appreciation.

In this crazy world, it is good to stay grounded. Amongst distractions
and manipulations of mass-media, it is good to find our place within the
harmony of nature. It is good to find the time, to be humble, and to
recognize the beauty in our mystery.
The Chawan vessel transports us here; from the spirit of tea to the
peace within. Here we can reflect in the nature of the vessel. Many
Chawan I create use the momentous Japanese technique of HikidashiGuro. The depth of the black has its own power, possessing minimal
and essential aesthetics of wabi-cha.
Douglas Black
3183-4 Magino,
Motegi-machi; Haga-gun,
Tochigi-ken Japan 321-3704
0285-62-0294
bRIVERb@gmail.com
www.douglasblackArt.com
Its also good fun making other styles of Chawan for enjoying the simple
pleasures of drinking tea in our own way. Chawan can express appreciation an infinite number of ways. I encourage us to remain playful here,
and to share some tea!
Earthen Lee , Taiwan
Earthen Lee
Earthen Lee, born in 1956, has been submerging himself in the

research of glazes from 1981, especially Jian-style glittering blackglaze in recent years. Efforts on glitter-glaze refinement made him
demystify yohen besides innovating in yohen; then the concept of
Glitterics was first propounded.
Research on glazes need patience and subtle sensibility. Lee is
observing due to abundant experience in being intimate with Nature
during childhood he groped for eels, clutched loaches, fished
frogs, caught crickets, and gleaned in the fields all these cultivating his plain and native characteristics.
For years, Lee has taken Chawan as the main object of his pottery
work. A simple-shaped object leaves room for glazes to dance,
so that glazes speak for the pith of the object, he said.
Earthen Lee
No.156, Zhenshan Vil.,
Yuanshan Township,
Yilan County 264,
Taiwan
earthenlee@gmail.com
www.earthenlee.com
Regarding the shape of Chawan, he would like to reach the realm of

back-to-nature, but it is not easy. He applied the philosophy of Tao
to his works Tao, the soul of wit embodied from oriental Lao-tzu
and Chung-tzu thought.
Lees art works are not likely to be recognized at a glance, like his
idiosyncracy. Chawan my epitaph.the research is a lonely and
solitary endeavor. I still have a long way to go accepting unceasing
trials.I would like to share my works with coequals worldwide in
real time, he mentioned. He is a person who excels himself at any
time, and you shall find his growth visible.
1956
Elena Renker, New Zealand
Elena Renker
I have been drawn to the art of tea and tea ware for many years now.
A tea bowl is probably the most fascinating and intriguing thing to make
being an object of contemplation as well as a functional item. It has to
be well made and well balanced, not too heavy, not too light and to
feel good in the hand. It has to be pleasant to touch and to use. It also
has to provide interest for the eye, to show the clay body it is made
of, the touch of the potters hand, the glaze and the effects of the firing
process. This provides a challenge that in my opinion no other item of
pottery can match.
All my work is made from a mixture of stoneware clays, some from my
own land. My tea bowls are often decorated with an iron slip, glazed
in shino type glaze and fired in my wood kiln for 15 hours to 13001320 C.
Elena Renker
248 Okura River Road
RD2, Albany
Auckland 0792
New Zealand
0064 9 4738834
erenker@gmx.net
www.elenarenker.com
Elizabeth Cohen, Israel
Elizabeth Cohen
To create a Chawan for me is a journey.
A journey which does not end.
A moment in time... part of ones life.
To find balance between searching, finding and the acceptance of what
exists. When I throw the Chawan I connect with it both as a functional
object as well as a sculptural creation. In each Chawan I try to release
myself from the technical know-how and search for a freshness to
the Chawans essence.
The manner which I choose to throw, helps me keep my exploration
alive and active.
Elizabeth Cohen
Hanokem 7
Beer-Sheva
Israel
eliz.con@gmail.com
Ellen Levenhagen, USA, Singapore
Ellen Levenhagen
These Chawan are made at the Singapore American School by

Ellen Levenhagen, the HS ceramic instructor. The glazes are high-fired
Shinos and Tenmoku glazes overlapped. They are approximately 10 cm
x 10 cm.
Ellen Levenhagen
Singapore American Schol
High School Ceramics Teacher
elevenhagen@sas.edu.sg
Ellen Levenhagen
10
10
Ellen Schn, Massachusetts, USA
Ellen Schn
Tea bowls are a special example of the Japanese idea of beauty-the

philosophy that the aesthetic completion of a functional object occurs
through its use. Tea bowls are also one of the most intimate clay forms.
In process of creation, one must consider the relationship of clay lip to
human lip, cupping hand to cup-an integration of prose and poetry.
Within this hand-held scale, I hope to evoke a larger universe, creating
forms which, through their use in tea ceremony, evoke yearning, healing,
and, perhaps, peace of mind.
Ellen Schn
700 Beacon St.
Boston, MA 02215
USA
eschon@lesley.edu
www.ellenschon.com
Els Janssens, Belgium
Els Janssens
Steenwinkelstraat142
2627 Schelle, Antwerpen
Belguim
jan.van.dhelsen@telenet.be
janssensels9@hotmail.com
www.elzenn.be
yakimono.eu
Els Janssens
When I make Chawan
my thoughts freely
my hands dance with the clay,
a natural movement
With all my heart and soul
a new Chawan is born
Its like breathing in and out slowly
and it gives me wings, balancing each day,
The miracle of the flame 365 days
the restrained passion
of love, beauty and warmth,
now ... almost 16 years.
I use different types of clays,
slips, oxides, glazes, natural ash
to create a personal touch display,
up-and-in my clay body,
what every Chawan new and unique,
thus inherits its own story.
I fire my Chawan in a wood-gas or charcoal kilns.
So I found my own way in making tea bowls.
It is very interesting to create a simple tea bowl to create and show.
So many beautiful Chawan, stories going around all over the globe.
They are shared with many ceramists and many others.
The joy of life, still beautiful!
365
...16
Encarna Soler Peris, Spain
Encarna Soler Peris

Avd. Constitucin 4-2B
03720 Benissa
Espaa
solerperis@gmail.com
www.encarnasoler.es
Encarna Soler Peris
Why a Chawan?
Ive been working with pottery for many years now, and one of the
most stunning events that made an impact on my professional life was
to contemplate the last Raku Kichiezamon at the workshop making a
Chawan. It was in that very moment when I became aware without a
doubt of the path I wanted to follow regarding pottery.
I just need clay, my hands, and an oven, timeless tools to which I add
some yeast from the principles of Zen aesthetics:
Fukinsei () Asymmetry or irregularity. Nature itself is full
of beauty and harmonious relationships that are asymmetrical yet
balanced.
K
anso () Simplicity or elimination of clutter.
Things are expressed in a plain, simple, natural manner.
Shibui/Shibumi () Beautiful by being understated, or by being
precisely what it was meant to be and not elaborated upon. Direct
and simple way.
Shizen () Naturalness. Absence of pretense or artificiality,
full creative intent unforced.
Yugen () Subtle profundity or suggestion rather than revelation.
Datsuzoku () Freedom from habit or formula. Escape from daily
routine or the ordinary. Unworldly. Transcending the conventional.
S eijaku ()Tranquility. An air of energized calm, stillness and
solitude.
In order to walk my own path towards balance, never forgetting humility
and honesty.
-
-
-
-
-
Eric Franchimont, Belgium
Eric Franchimont
I started by practicing chado. Then of course I wanted to make my own

Chawan. A Chawan is a fantastic object, related to a practical use, and
a spirit, with so many constraints.
In chado as in Chawan there is the same search for tranquillity, harmony,
simplicity, detachment, and naturalness. The bowl becomes a support
for meditation, and leads us to a greater serenity.
Eric Franchimont
Quai des Pcheurs 3
4130 Tilff
Belgium
ericfranchimont@base.be
Eva Brandt, Denmark
Eva Brandt
When I was around 20, my interest in ceramics opened to a deeper
level, as my first ceramics teacher - Grete Westh - showed us pictures
of some famous old Japanese tea bowls. My eyes were opened to
a new and quite different perception of beauty, as I looked at these
lopsided, rough and sometimes cracked bowls with glazes that were
crawling, running, blending, - creating images and wonderful textures,
and looking like something from Nature itself.
I experienced how a small simple clay bowl can radiate an almost
spiritual atmosphere of something eternal, of humility and quiet being,
without emphasizing the maker.
I do not make Chawan in a Japanese, Korean or Chinese tradition,
but I am deeply inspired by the qualities, that I find in these traditional
bowls.
Eva Brandt
Larsegade 23
3700 Rnne
Denmark
eva.keramik@gmail.com
www.evabrandt.dk
20
- Grete Westh -
Evi Kienast, Switzerland
Evi Kienast
In autumn 1998 I first got in contact with Raku ceramics. It was an
unforgettable moment. I immediately got fascinated by the design and
expression of the ceramic. Dealing with earth and fire and the coincidence of the glaze firing, which always produce surprising results,
became a significant component. After I took some courses at various
ceramists, I began to learn autodidactically.
The origin of ceramics caught my attention. Therefore I got involved with
the Japanese Raku tradition, which reaches back to the 16th century:
A Korean potter received the title of the first Raku master; this
tradition continues up to present day. The 15th Master Raku
Kichizaemon lives and works in Kyoto where he traditionally produces
ceramics for the tea ceremony. A highlight during my second trip to
Japan was to meet him in person.
Evi Kienast
Anton Graffstrasse 69
8400 Winterthur
Switzerland
ekienast@raku-art.ch
www.raku-art.ch
1999 was the year when my long-felt wish became true: a trip to
Japan. I was a guest in a tea teachers house and visited some famous
pottery centres in southern Japan. From this point began an intensive
exchange over Japanese tea culture and its spread over the western
part of the world. Since then, I have visited Japan four times. In
2007, I was able to realize an exhibition in a friends tea house in
Kyoto. The connection between tea culture and Raku ceramics became
deeper. The production of tea bowls has become the top priority of
my ceramics work.
1998
1999
2007
Felicia Tng , Singapore
Felicia Tng
Chawan creation, to me, is similar to the Chado. It calms my mind and

allows me to naturally flow into the present, savouring the tranquility
of each moment. With it, I freely reflect upon and express my deepest
self by embracing and in turn, creating forms that echo the manifested
imperfections in nature and in life.
Glaciers and caves, natures imperfect yet ever-evolving landscapes, are
my main inspiration for this series of Chawan. Each and every creation
reminds me of the essence of the age-old maxim as above, so below
and leaves me with a sense of profundity that nourishes my soul. I hope
these uplifting experiences will be felt and enjoyed by the Chado User.
Felicia Tng
feliciatsc@gmail.com
, ,
,
,
,
Fien Monsieur, Belgium
Fien Monsieur
I grew up on a farm and developed an early love for nature and animals,
and that shows in my work. What also makes me happy is inviting
friends home.
My passion for making Chawan? I love spending hours kneading clay
and creating an object that gives people a precious tea moment.
A handmade object means for me that I can give a personal touch to
something that seems so simple, but that is a false perception.
Fien Monsieur
Nattestraat 12
1740 Ternat
Belgium
jos-josm@hotmail.com
www.comtinmynenhof.be
Francis Poon , Singapore
Francis Poon
Myths and legends from different

cultures depict the birth and existence of
the universe with many different facades.
Beneath, lies the essential communion
of chaos and order.
The meeting of the two extremities,
bring about the the impression of savagery,
turbulence and violence midst stillness, silence
and calm, in essence brings birth to equilibrium,
a state of balance that seem to exist only
midst the ceaseless fusion and fission
of elements.
Francis Poon
Blk 9004, Tampines Street 93,
#04-92,
Tampines Industrial Park A,
Singapore 528838
poonpinghimfrancis@gmail.com
A ceaseless dialog of
agitations in harmony.
Francis Poon, 2009
Portait Photography by Richard Seah.
Product Photography by Syazali.
Francis Poon, 2009
Frank Theunissen, France
Frank Theunissen
Chawan
The perfect imperfect
The Chawan I make are made of French stoneware clay, grs, thrown
on a wheel and fired in a woodkiln at cone 10 - 1300 C,
The glaze is made from woodash from the local Gaillac vineyards, mixed
with the ground they have grown on.
Making a Chawan for me is a great pleasure, it is the opposite from
how I always made my ceramics: as precise as possible and as equal
as possible.
The way I make my Chawan gives me the opportunity to let the hasard
into my work, during the throwing process and during the firing, the
result surprises me every time again.
Frank Theunissen
la Plaine
81170 Cordes sur Ciel
France
frank.theunissen@laceramique.com
www.laceramique.com
GRES10
1300
Gaillac
Genevive Meylan, Switzerland
Genevive Meylan
The tea bowl is a simple form but contains the whole world.
I developed a passion for tea, fell in love with pu er tea, then Chinese
green tea and macha. Then, later, as I stood for a personal exhibition
in Ceramic Yingge Museum (Taiwan) I had the opportunity to visit tea
gardens and taste a lot of teas. I also discovered the Korean Way of tea
during Mungyeong tea bowl festival in 2012 and 2013.
All these experiences, tasting teas, meeting people and learning from
them, developed my own appreciation of tea and teaware. I make
teaware and Chawan like research always going on. Chawan reflect
my sensibility as a European artist and allow me to be connected to
other cultures too. I focus on classic Japanese glazes like shino,
oribe, ohata, tenmoku, kudomato, pushing them to their limits (bubbles, crackles,drops). Then I make some corrections so that they can
adequatly receive tea.
Genevive Meylan
Ch. des Pussines 14
1867 Ollon
Switzerland
genemeylan@gmail.com
facebook.com/genevieve.meylan
www.genevievemeylan.net/
I move on in this direction: searching the shape (open form or closed

one, sizes) and the texture to fit with different kinds of tea and tastes.
Inspiration comes from life and nature as a living movement.
Tea and Chawan have to combine themselves to be in adequation.
My research goes on
20122013
Gerda Genijn, Belgium
Gerda Genijn
When Im playing with clay, suddenly a Chawan appears! There must
be a cosmic bond between me and a tea bowl they grow in my
hands without a plan; its like Zen.
I dont make many Chawan, but when I make them time is of no
importance. I work in the garden in the shade of a tree, just clay and
me. Those are happy moments.
Gerda Genijn
Am Rimsche 8
56290 Mrsdorf
Germany
gerda.genijn@hotmail.com
...
Gilles Jaure, Israel
Gilles Jaure
I was born and raised in Charente, France, land of the Cognac,
and I remain loyal to the tradition of Farmer - Potter according to the
season of the year. In winter, I create the Chawan in the Negev desert,
south of Israel. In the summer I cultivate grapes at the winery farm,
in the south of France.
The main part of the Chawan is made up of a strip of rustic stoneware
to which I add porcelain. By stretching the clay I get the chance to
explore the depth of the material.The potters wheel is used only sometimes for the creation of the Chawan base.
The Chawan is mainly inspired by two elements: the texture of the cep
sap growing in the vineyard for more than 100 years, and the tree of
Shita in the desert valley, offering its shade for the travellers, who can
drink tea under its branches.
Gilles Jaure
Moshave Teashur n27
Mobile post
Negev 85398
Israel
jauregilles@gmail.com
www.cley-bereshit.lanegev.co.il
Shita
Hein Janssen, The Netherlands
Hein Janssen
The ceramics are fashioned at the turntable, the objects usually

consisting of a combination of rotated shapes and clay paste.
I work with combinations of porcelain and glass as well.
Ceramics, and particularly wood-fired ceramics, fascinate me in
particular by the unpredictability of the combustion process - and thus
of the results.
It is always a challenge, the game that fire plays with the clay, glazes,
ash, and my occasional hand slips. I fire my ceramics in a small wood
kiln or the anagama; the firing of the anagama lasts four nights and five
days. It can be challenging to maintain the intended temperature of
1300 C long enough to do the job.
Hein Janssen
Akerstraat 114
6445 CT Brunssum
The Netherlands
info@anagama.nl
www.anagama.nl
It can be intense to deal with the elements of earth, water and fire,
carrying out the work in weather and wind, day and night.
Therein lies my motivation.
1300
Hetty Lie Schricke, Singapore
Hetty Lie Schricke
Sharing the nature and essence of the local Seletar clay is a way of
defining my identity and my connection to Singapore.
Clay is like an old friend in moments of reflection. It has its own story
and I like to imagine how it has witnessed the history of this place.
These three vessels are a family like so many families including my own
that lived in this area.
The white stoneware vessel decorated with local clay-made glaze
represents the circle of strength that a father bears or manifests,
encompassing his family (7cmH x 11.5cmW).
The local clay stoneware mix vessel is the stable mother with her
welcoming arms (6.5cmH x 12 cmW).
Hetty Lie Schricke
Jalan Bahar Clay Studio #7
97 Lorong Tawas
Singapore 639824
hettyschr@hotmail.com
The waves on the local clay stoneware mix vessel represents the journey
in time of a child (5.5cmH x 7cmW).
When one finishes his tea, the white dot in the centre can remind one
of light at the end of the tunnel or of enlightenment.
7 x 11.5
6.5
x 12
5.5 x 7
Hiroko Mita, Japan, Singapore
Hiroko Mita
The works are inspired by an actual person, who was the wife of a
military commander, in 16th century Japan. In a time of the civil war,
she was caught between her faith, her devotion for her husband and her
loyalty to her family lineage. Her answer to this was simple - eliminating
her self from life, which expresses her commitment to all.
Through the Chawan I try to express this simplicity by turning to what
is readily available - Singapores local clay used as slip on my work and
ash from Guan Huat Dragon Kiln, one of the last two remaining dragon
kilns in Singapore, for my ash glaze recipe.
Hiroko Mita
Jalan Bahar Clay Studios #3
97L Lorong Tawas
Singapore 639824
hiroko.mita@gmail.com
16
Hsien-Ling Fan , Taiwan
Hsien-Ling Fan
Blue and white are the traditional colors of Chinese painting, to bless
people with auspicious patterns. The patterns are painted with heated
glaze at the temperature of 1230 degree Celsius inside the tea bowl,
expressing special and new combinations.
Hsien-Ling Fan
Taiwan
cfanny36@yahoo.com.tw
1230
Imke Splittgerber, Germany
Imke Splittgerber
I love drinking tea all day long, and all different sorts: black Fresian tea,
green tea or herbal tea. And as I am a ceramic artist, I love making tea
bowls: very simple ones for different nice glazes or special ones for my
wood-fired kiln. When I look through the spyhole and see one of the
bowls standing strong and glowing in the fire I am full of awe. And
then I understand that my part in the formation of this tea bowl is only
a tiny one.
Therefore I love the following quotation by a Korean potter:
The ceramic process is recycling the earth from its origin. The earth
was a part of the sun (fire) and became stone after it had cooled.
After millions of years stone became clay and with the discovery of fire,
people are making stone again out of clay.
Imke Splittgerber
Affegnt 2
D 24392 Boren,
Germany
04641/2556
atelier@imke-splittgerber.de
www.imke-splittgerber.de
Iskandar Jalil, Singapore
Iskandar Jalil
I have not done many Chawan as I have no love for them.
I have much respect for its culture its wabi sabi intrigues me due to
its charm. It teaches me discipline, dedication and sheer hard work.
The semantic term Chawan is the same as in those countries that use
the Malay language using Chawan for the char-no-u. The Japanese
use of the vessels comes with reverence, but to the Malay it is just a
container or a vessel for drinking. The mystery is how the Malays use
the word Chawan.
Iskandar Jalil
44 Jalan Kembangan
Singapore 419114
Tel/Fax 6562414311
Mobile 93671440
...
...

Jack Lin Taiwan
Jack Lin,
The Moment
Catch the right Chawan at the right moment. It is the instant that
marks the completion of the creation.
During the Chawan making process, I let time pass while feeling the clay
in my hand, waiting to catch the right moment to complete the creation.
It takes much practice to perfect the ideal form of a Chawan. From a
humble Chawan, one can sense the aesthetics of the maker - the ability
to bring out simple perfection at the right moment.
Jack Lin
No.7, Ln. 4, Zhongshan Rd.,
Yingge Dist.,
New Taipei City 23942,
Taiwan
jack4848448@gmail.com
47
!!
James Ferrante, USA
James Ferrante
The Chawan I make record the exploration of personal identity and
ideals. I find identity in allowing myself to resolve problems instinctively,
resulting in each Chawan being individual from the next. I find comfort
in the endless complexity of a seemingly simple idea. I objectify this
through minimalizing my forms, consciously exposing the importance of
a sensitive nature. I rarely glaze my Chawan, I find it empowering to
present an unprotected form that divulges in the wide ranging color
palette clay has to offer. The inclusions in each piece add sound to
the words whispered by the quiet surfaces. I find the most knowledge
embodied in the thoughtful ideas of an understated object.
James Ferrante
1773 Ennis Joslin road,
Corpus Christi TX 78412
Apt. 3301
USA
txferrante@gmail.com
Janice Hunter, Denmark
Janice Hunter
The enjoyment of tea and the teabowl.
I see the teabowl as a catalyst, physically and emotionally allowing us to
sense. Our focus, sharpening when handling the tea bowl.
The pleasure coming with feeling and seeing the material and then with
receiving the tea.
Such a seemingly simple thing and yet so expansive, so infinite.
Janice Hunter
Tornby Gl.Skole
Tornby
Hirtshals 9850, Denmark.
0045 9897 7668
fb: janice hunter.dk
janicehunter20@hotmail.com
Jean Pol Urbain, Belgium
Jean Pol Urbain

In my hands
Rugged and compact material in my hands,
dialogue between mineral and touch,
I embrace and dominate you.
Flexible and obedient clay between my fingers,
traces between scratches and caresses,
Ill empty you, to fill me.
Between palms and fingerprints,
there you are bowl, ready to offer.
I hold you or rather you hold me,
who is holding the other ?
In my hands now and again,
the story renews itself.
Jean-Pol Urbain
Jean-Pol Urbain
62, rue du Rossignol
7340 Colfontaine
Belgie
+32 (0)6566 7478
+32 (0)47562 6545
jp.urbain@skynet.be
Through trials and failures, I am exploring the world of Shino through

firings with gas and wood; trying to rediscover the qualities of the
traditional Shino to exploit their contemporary expressive potential.
...
Jessie Lim , Singapore
Jessie Lim
What is a cup but the air that it contains.

This was a philosophical question that I explored in a class discussion
many years ago. And yet, the Chawan attests to the sheer beauty and
feel of the material.
To me, the tea-bowl is the most basic of ceramic vessels. Since tea
drinking in a Chawan is customary in China, Japan and Korea and now
probably all over the world, this basic form has been explored extensively throughout the centuries.
The variety in either rough simplicity or smooth streamlined shapes has
housed many kinds of tea - thick or thin, black, red or green in raku,
porcelain or stoneware.
Jessie Lim
Midview City 26
Sin Ming Lane Blk 26, 02-27
jessielimceramics@gmail.com
jessie@jessielim.com
In essence, I feel that the intimacy of the bowl held in cupped palms
and brought to the lips is the most cherished experience of tea drinking.
Jianxin Xu China
Jian-Sin Syu
With thousands of years heritage, Longquan celadon was once chosen
as the official porcelain for the Imperial court in the Song dynasty. The
molten cyan with lush green glaze reflects its gentle and sincere character, like an unblemished lotus growing out of the mud. My earnest
desire is to bring together the perfect union of lotus and porcelain and
create the pinnacle of art for refined tableware.
Jian-Sin Syu,
China
xinyuanqingci@163.com
Jing Om , Taiwan
Jing Om
Tenmoku glaze has a variety of different properties which are
fascinating. This intriguing glaze has a variety of properties and I like to
use the glaze to produce beautiful images in the tea bowls. In my art
I try to capture inspiration from nature as well as passing on my own
gratitude of life. The expression of this spirituality requires constant
practice. Only when Tenmoku is used based on a spiritual level can clay
and fire elements be used to create profound beauty and inspiration in
works of art.
Jing Om
Jing Om Ceramics Studio
+886-910130139
avecellen@gmail.com
http://mu-chuan.blogspot.tw
()
Jirawong Wongtrangan, Thailand
Jirawong Wongtrangan
Stoneware Chawan, decorated and burnished with colored slip

outside and glazed inside. I am interested in the natural controlled
movement of lines that create unrepeatable rhythm and emotion in
each individual line.
Jirawong Wongtrangan
35 Siroros Rd. T.Suthep
Muang Chiangmai 50200
Thailand
+66 817851943
mun_jirawong@hotmail.com
Facebook: Jirawong Wongtrangan
Jo-Ann Yang, Singapore
Jo-Ann Yang
Creating a piece of pottery for me is always a discovery of the
uniqueness of clay, that allows me to focus on its organic form, natural
contours and marks of irregularity. I create flowing lines to effect a sense
of continuity that preserves the natural form of clay.
Jo-Ann Yang
5 Bedok Rise,
Singapore 469576
65-96286224
pomsg@yahoo.com.sg
Jocelyn Hee, Australia
Jocelyn Hee
Holding a handmade Chawan is like holding something precious in
your hands - the offering of a ceramists heart and soul to the world.
When I make Chawan I spend a long time pinching, molding and
shaping; using earthenware, slips and decorating with underglazes.
I am drawn to rustic, raw and organic forms while still appreciating
delicate and fine work. These opposing traditions are often unconsciously reflected in my pieces as paradoxes seeking resolution.
Jocelyn Hee
19 Appleberry Close
Knoxfield, Victoria
Australia 3180
jocehee@hotmail.com
facebook.com/jocelynhee-ceramics
My Chawan are inspired by my ancestry, in particular the Straits

Chinese tradition of nonya-ware with specific color palettes combining
unique busy designs of birds, flowers, borders, patterns and lines unlike
any other pottery genre Ive ever known. Yet, rather than merely copying nonya-ware, Im applying its sensibilities to a more rustic medium
bringing together ancient and more recent traditions in a chimeric representation of old and new.
John Baymore, USA
John Baymore
Isolated in time and space, all senses alive, one appreciates every nuance
of sound, touch, smell, and taste in Chanoyu. Chawan intimately link
the user with the maker, allowing the artist, though not present in the tea
room, to join the dialog created between host and guest that is integral
to ichi go, ichie e. Recently I have begun to understand the inter-related
nature of object, process, and final application, with the hand and eye of
the maker as catalyst for physical formation, and the user of the Chawan I
make being a necessary final element in the overall act of creation.
John Baymore
River Bend Pottery
22 Riverbend Way
Wilton, NH 03086, USA
jbaymore@compuserve.com
www.johnbaymore.com
www.nhia.edu/new-facultypage-5/
John Oles, USA
John Oles
I am, by nature, a maker. As a maker of objects, I believe that truth and
insight into our own human nature can be revealed to us through the
practice and process of creating with our hands. I believe in the power
of the handmade object to communicate with people, on a
subconscious level, the fragility and intimacy of the temporal moment.
The feeling of a warm cup of coffee in your hands on a cold morning,
the first sight of fresh bird tracks in the newly fallen snow, touching the
creased and weathered skin stretched smooth and taught around aged
cheekbones, all of these serve as reminders of our own fleeting mortality and invite our reflection upon the human condition. It is with this in
mind that the work I make speaks to the act of embracing the moment.
John Oles
3038 Grand Route Saint John
New Orleans,
LA 70119, USA
earthworm03@yahoo.com
http://jolesart.com/
In my vessels and functional forms, I honor the tradition and familiarity

of the domestic object, with its ability to enrich our lives through daily
use, as a vehicle for communicating content. I approach the making
of each pot as an individual sculptural object, often with reference to
landscape or the human figure. I want the walls of these vessels to be
like that of a membrane, inflated, stretching thin, just barely able to
contain the space within it. And on that skin is a mark. A finger swipe,
a pinch, push-out, a gesture instantly records history, intent and expression onto the surface, while simultaneously building a tension with the
interior volume.
Jui-Hua Lin , Taiwan
Jui-Hua Lin
My tea bowls are all made by hand pinching, and fired over
1400 C in my own wood-fired kiln. I use no more than earth and
fire to create a change in the quality of my tea bowls. The change is
not by artificial glazing, but through high-temperature wood firing. I
named it Mother Glaze.
Each tea bowl is made of different clay, and shows different texture.
After such a high-temperature wood-firing, the tea bowls become jadelike. To make tea with my tea bowls, the tea becomes more delicious
and fragrant. To hold the tea bowls in the hands, you can feel peace
and positive energy for life.
Chawan on the right page:
Multi-colored Bowl high-temperature wood-firing, 2000
Jui-Hua Lin
No. 7, Dapuding,
Neighborhood 7,
Gongguan Village,
Zhunan Township,
Miaoli County 350,
Taiwan
1400
2000
K anoknat Promnakon, Thailand
K anoknat Promnakon
Tea bowls are to design and create the ceramic products, with the feel
of a harmonious movement to create the marine atmosphere with the art
works. There are the throwing process and decorating with Mat Glaze
and Running Glaze by firing temperature. I was interested in working
with Chawan, because I like tea bowls of Chawan.
Kanoknat Promnakon
Valaya Alongkorn Rajabhat
University,
Phahonyothin Road, Km. 48,
Klonglung District,
Pathumthani,13180,
Thailand
Pear_165@hotmail.com
K areen Le Portier, France
K areen Le Portier
Im working on stoneware, designing all my creations by throwing.
I strongly appreciate the quiet and peaceful focus required by throwing,
as well as the serenity it provides.
I used to create bowls and vases with a very smooth surface able to
enlighten my crystalline glazes, but now Im working on more rough and
embossed envelopes.
After the throwing stage, Im modeling the clay until I reach a certain
harmony with the objects intrinsic curves. After that, it still remains to
find the glaze...
This change in my way of working is opening up my horizons: to be a
potter means to live a never-ending life of discovery and enthusiasm...
Kareen Le Portier
32 Rue Albert De Mun
94100 Saint Maur des Fosses
France
kareen.leportier@free.fr
http://kareen.leportier.free.fr
...
...
K aren Helen Loader, UK
K aren Helen Loader
Tea ceremonies have a long tradition all over the world. It is a drink that
has been served and enjoyed for many centuries. As I have travelled
around the world I have become fascinated by the rituals and variety of
ways that tea is served in different cultures.
I was born in the England where we are famous for taking tea in the
afternoon, typically black and usually served with milk or lemon.
Growing up I was shown how to warm the teapot with hot water, add
a spoon of tealeaves for each person and an extra spoon for the teapot;
then, leave it to brew for a few minutes before drinking.
The tea bowl can come in many shapes, forms & designs. I have been
experimenting with raku firing to create interesting textures and these
effects give my pieces individual character. This style gives the impression of age in the pieces which reflects the importance of the history
and tradition that we associate with drinking tea.
Karen Helen Loader

43 Sixth Avenue 04-13
Sixth Avenue
Singapore, 276484
065 8298 2016
paulandkaren@live.com
www.geckopottery.com
www.facebook.com/karen.loader.5
K aren Mahoney, USA
K aren Mahoney
I enjoy traditional Asian pots and like to bring portions of their
aesthetic to my work. Drinking pieces are my favorite pieces to make,
because the relationship is so much more intimate than with other pots.
Chawan brings these things together beautifully.
Karen Mahoney
Independence, Oregon
USA
citybytheseaceramics@gmail.com
www.citybytheseaceramics.com
K atherine Najorka, Germany
K atherine Najorka
My pottery has been existing for four generations and I fetch my clay
from the same pit as my great-great-grandfather did years and years ago.
Although I have been working with clay all my life, I got in touch with
Chawan rather late, as I always felt great respect for the tea ceremony
and tea bowls. About six years ago I threw my first tea bowl - after
having been introduced to the secrets of the tea ceremony in a seminar.
Since then my fascination for the Chawan with its great variety of
shapes, composition and coloring has increased constantly. I have learnt
a lot since that time, for instance letting the clay run its own course and
at the same time adjusting the Chawan to my hands. In this way pieces
of great individuality are created. I form the clay without pressing it into
a form, without inserting it into a corset. The more simple these forms
are, the more I love them.
Katherine Najorka
Waldweg 19
02957 Krauschwitz
Germany
toepferei-najorka@web.de
kathrinnajorka.blogspot.com
www.yakimono.eu
Also, I very much enjoy watching people looking at my Chawan,

holding them in their hands, turning them as they want, sensing the
form, weighing up if they lie well in the hand ... When they decide on
a Chawan it always makes me happy.
It is something very personal and binding to hand a Chawan to
someone, like an amicable handshake - in another culture - a bow.
...
Kevin Crowe, USA
Kevin Crowe
I make tea bowls large enough for two people to share in a quiet ritual of
intimacy and hope - recognizing the daily, essential work of being human.
Healing has many faces - many hands.
Peace,
Kevin
Kevin Crowe
Tye River Pottery
1289 Falling Rock Drive
Amherst, Virginia 24521
USA
tyeriverpottery@aol.com
www.kevincrowepottery.com
Kim Joo Goh , Singapore
Kim Joo Goh
Pottery making trains one to be meticulous, patient and to persevere in

what we do. It requires one to be focused, thus bringing peace to mind.
This is a continuous journey where interaction results in learning and
creation brings about joy.
Kim Joo Goh

kimjoo.goh@gmail.com
Kridtayot Coming, Thailand
Kridtayot Coming
The artist was inspired by the beauty of the Glaze.
Kridtayot Coming
Valaya Alongkorn
Rajabhat University
Under The Royal Patronage
1 Klongluang district, Pathum Thani
13180, Thailand
nopsnop6@gmail.com
Kuei-Wei Chang , Taiwan
Kuei-Wei Chang
Many potters labor in making their works into a variety of shapes, seemingly oblivious to the fact that, differing from paintings and sculpture,
ceramic art goes through the transformation of heat in order to create
the work- the union between human labor and natural forces. In order
to pursue the trend of contemporary art, many have discarded this
unique essence of the ceramic art!
After fifteen years of painstaking research into the glaze of Oil Spot
Tenmoku, having had hundreds of trials and thousands of failed pieces,
ceramist Kuei-Wei Chang finally broke through to the traditional Oil
Droplet Tenmoko of the Song Dynasty and transformed the Chawan
into Golden Iridescence Oil Spot Tenmoku.
Kuei-Wei Chang
No.115, Yongde St.,
Gushan Dist.
Kaohsiung City 804
Taiwan
kueiweichang@gmail.com
http://kueiweichang.com/
,
!
15
Kurt Spurey, Austria
Kurt Spurey
The theme Chawan poses, for me, a fundamental question of form
and function. For a non-Japanese the concept creates a challenge.
I am intrigued by the sculptural possibilities of this particular form;
the surface and color are secondary. After years of working with the
sophisticated material of porcelain, it is like returning to the roots of
ceramics; this little vessel formed from low-fire clay is its very essence:
earth, water and fire.
Kurt Spurey
Czerningasse 7/2/3
A-1020 Vienna
Austria
spureyk@yahoo.de
www.kurtspurey.com
Lauge Brixvold, Denmark
L auge Brixvold
Im enthralled by glaze surfaces, the way that further levels of perception
are hidden with each succeeding step of observation; the apparent first
exterior gives way to explorations of more detail and other complexities. The way form meets my eyes and my hand perceives the weight
distribution, the sound of the sintered ceramic - how does it resonate?
Im fascinated by beauty both in looks as in function; to me all these
meet in the Chawan. The Chawan lets me drink and contemplate.
These are objects that I can fashion with my own hands, to my own
desires and aesthetics. These are surfaces that I can research and pursue,
all in order to be made aware of the intricacies of the relations between
aesthetics of form, haptic and surfaces. As well as to enjoy through use
and share as my perspective of beauty.
Lauge Brixvold
Svinget 2
DK-4894
ster Ulslev
Denmark
brixvold.com
Ive always been fascinated by the tea ceremony, and the fascination has
just grown stronger over the years. Making a ritual and cleaving a serene
space out of the business of everyday life, is something Im not about to
give up.
I work from a desire to understand and utilize the chemistry of glazes,
to make something that might be both contemporary and classic in its
expression, creating objects of both artistic and functional value.
Lee Yuen Shih , Singapore
Lee Yuen Shih
I studied ceramics under Mr Chua Soo Kim in 1994. Afterward, I

also participated in various group exhibitions with the Nanyang Clay
Group locally. My style shows asymmetrical pots that are unfinished.
Chawan on the right: Where?. Thrown and altered, using Buff Raku as clay with
multiple glazes overlapped.
First Chawan on the Left: Dance. Thrown and altered, using Buff Raku with white
glaze over.
Second Chawan on the Left: Burning Brush. Thrown on White stoneware, with
reduction glazes.
Lee Yuen Shih
1994
()
()
Liang-Chung Wu , Taiwan
Liang-Chung Wu
Pottery work allows me to focus one hundred percent on the present

moment and that makes my leisure time full of joy. Searching for the
balance in the free outline of the clay brings me unexpected results and
fun.
Every unique clay body, every kiln and every individual placement
inside the kiln, and every rise in the temperature of the burning wood
together these determine the color and textural expression of every
Chawan.
I believe that each Chawan is made for a specific human who will drink
from it. May you find your special Chawan and enjoy every moment of
drinking tea.
Liang-Chung Wu
13,Alley 16,Lane 697
Min-Hu Rd. Hsin-Chu city
Taiwan
liankwu@gmail.com
Lim Chye Leong Tom , Singapore
Lim Chye Leong Tom
Every aspect within the traditional Japanese Tea Ceremony is meaningful. From the gestures of the tea master to the intricate handmade
teaware, the whole tea-making process has been inspirational to me.
Lim Chye Leong Tom

S0178049B
Block 234A Serangoon Avenue 2
#11-133
Singapore 551234
Mobile: 96747516
tomlim13@singnet.com.sg
Lim Ibsen , Singapore, Japan
Lim Ibsen
In the world of Japanese ceramics, there is no one form held in higher

esteem than a Chawan, a mere bowl to serve green tea. The charm of
such an imperfect yet simple teabowl is a challenge for me to create.
It is the segmented harmony to simply enjoy a cup of tea. Yet there is
much more than meets the eye when we begin to look at Chawan and
the subtle nuances they embody, the spirit they reveal, the so-called
hand-held universe, as they are poetically referred to.
Lim Ibsen
Ibsen13@hotmail.com
Lim Kim Hui , Singapore
Lim Kim Hui
Black and White Chawan by Lim Kim Hui

Upon a chance visit to an old colonial-styled bungalow house that
was built during the olden days of Singapore when it was a straits
settlement to the British Colony, I find the simple black and white
architecture deeply inspiring with its tranquil and Zen-like atmosphere.
Assimilating this inspiration into my Chawan creations, I hope to draw
the owner of the Chawan into that same tranquility when he or she
held it in their hands.
Size of Chawan: 12 cm x 12 cm x 9 cm
Made: Wheel thrown Stoneware. Gas-fired cone 12 with reduction
Lim Kim Hui

Ceramic House
www.ceramichousesg.com
Tel: 67840024
12 12 9
12
Linda De Nil, Belgium
Linda De Nil
In the fields behind our backyard, enormous field kilns were constructed
for making building bricks. As a child I often witnessed these temporary
brick kilns being erected, fired for weeks and finally dismantled.
Fascinated by these images of earth being fired, I decided to pursue a
career as a potter.
I have been firing my mostly wheel-thrown stoneware and porcelain in a
self-built one-chamber woodfired kiln. With a five-day stoking-up, I feel
theres enough ash deposit on the pots so as to make the application of
glazes and slips or the introduction of salt superfluous.
Im working near Brussels, where I set up a pottery studio with the
name BLAUZUUR.
Linda De Nil
Reigersstraat 8
3051 Sint-Joris-Weert
Belgium
linda.de.nil@scarlet.be
http://www.saturna.be
http://home.scarlet.be/blauzuur
BLAUZUUR
Lisa Brummel, Australia
Lisa Brummel
I wanted to reflect in my tea bowls aspects of Australia. Presently
Australia is in the grip of one of the worst recorded droughts in
European history; this in turn gives rise to catastrophic fire events.
The Japanese tea bowl reflects the characteristics that are highly prized
by its society; beauty of humility and the love of simplicity.
By using the raku process I feel this method reflects the landscape,
heating up rapidly, extracting all moisture out of the clay then being
engulfed by flames in the reduction process, subsequently being
quenched by the cooling water.
With these bowls I have tried to emulate the landscape; a dried,
fractured parched land that has been touched by fire. The interior
reflects a calm oasis such as a billabong where one can reflect and
escape, remaining safe from the outside influence.
Lisa Brummel
Australia
nomadnoosa1@bigpond.com
To create the spirit of the tea bowl, traditional hand building techniques
were followed to craft an unpretentious piece. I begin each bowl with a
lump of clay that is firstly pinched, pushed outward using a shell to give
a smooth internal space thus creating a cracked outer surface.
The footrim is then carved using a knife.
Lou Smedts, Germany
Lou Smedts
My tea bowls are not perfect, achieving perfection is not my goal. In
the Zen philosophy I learned that an artists work is the mirror of his
character. My tea bowls are simple, and one could say that they are
born by coincidence as children of an unconscious happy moment.
When the clay is dry I lay them in the warm care of my kiln and if they
come back out of his belly, the fire magic has worked. My new tea
bowls are born. Each and every one reflects my character stubborn,
wild, and adventurous, basically impossible! I hope you enjoy my little
tea children as much as I do.
Name: Wispers of tea.
Decoration: Natural ash glaze, fired in oxidation 1240 C.
Made in 2014.
Lou Smedts
Am Rimsche 8
56290 Mrsdorf
Germany
lou.smedts@hotmail.com
Chawanexpo.com
12402014
Low Kok Hwee , Singapore
Low Kok Hwee
For me, the Chawan symbolises the gathering of like-minded people

to enjoy a good conversation and appreciation of the art form of the
Chawan over a nice cup of tea.
Low Kok Hwee

Jalan bahar clay studio,
97L Lorong Tawas,
Singapore 639824
Lucien Koonce, USA
Lucien Koonce
My interest in the Chawan lies in the beauty of the vessel itself, its
association with wood firing, and its ties to ceremony. I have a deep
appreciation and respect for cultures that holds ceramic objects in such
high esteem, and find it appealing that the Way of Tea embraces this
value. Additionally, I seek to push the form away from the realm of
traditional and into one that is more sculptural, while fully retaining
its function. My tea bowls are created with spontaneity and immediacy,
discovering the form during the process.
Wood-firing adds another dimension to the Chawan. The inherent
nature of continuous flame, intense heat, and ash upon the clay, whether
glazed or unglazed, adds color and textural effects that are congruent to
each piece. Subsequently, the form has become like a diary, recording
the thoughts and process of the maker and the kilns fire.
Lucien Koonce
12 Kingsley Avenue
Haydenville, MA 01039
413.268.7186 (studio/home)
lucien@lucienkoonce.com
www.lucienkoonce.com
http://lmkoonceceramics.blogspot.
com
Lum Shuk Yee Venisa, Singapore
Lum Shuk Yee Venisa
Theme of art pieces: Natures colour

Description: I was inspired by nature when I was visiting Australia last
year. These three Chawan represent the elementary elements of all the
colours that can be found in the natural word. Each of the Chawan
reminds me of the scenery I saw in Australia.
The blue Chawan is infused a white pattern that resembles the froth
created by the waves when they hit the shore.
The red Chawan has a brown exterior that is textually rough and
represents the earth.
The green Chawan is white based, representing air and a feeling of
emptiness.
Lum Shuk Yee Venisa

+65-98657842
lsy-venisa@hotmail.com
Madhvi Subrahmanian, India, Singapore
Madhvi Subrahmanian
Chawan - the word fascinates me as embedded in it lies the story of

exchange between two lands. Growing up with the word Cha for tea
in India I assumed it belonged only to me - till I realized that it was the
same word my Chinese friend grew up with! The common word bears
testimony to the vast exchanges between India and China for thousands
of years. Much of my recent work has been exploring the idea of movement and migration.
Expanding on this concept, my Chawan is about thoughts and ideas
that move from one part of the world to the other through and with a
simple cup of Cha.
Madhvi Subrahmanian
235 Arcadia 0607
Arcadia rd
Singapore 289843
madpots@yahoo.com
www.madhvisubrahmanian.com
Marc Lancet, USA
Marc L ancet
The creation of tea ware for the Chanoyu brings many benefits to the
Western artist who attempts it. To make a tea bowl is to enter into an
ongoing dialogue over 450 years old. Originality is expressed in the
way each artist combines elements of function, tradition, spirituality,
philosophy, history and of course form and surface. There is vast opportunity for individual expression residing within ancient art traditions.
Creating tea ware deepens my understanding of Western art traditions
and their role in my contemporary sculpture. Striving to make a tea bowl
of merit teaches me more about sculpture than almost any other aspect
of my art training.
Marc Lancet
2540 Regis Drive,
Davis, CA 95618
USA
(530)795-3565
marc@marclancet.com
www.marclancet.com
An artistic temperament seeks new understanding, unfamiliar territory; embraces the unknown. This is perhaps why so many Japanese
ceramic artists I have encountered in my travels in Japan are making art
responding to contemporary western art ideas and practices. This too
is how I have come to work within the ancient and honorable traditions of Chanoyu.
450
Marie-Anne Ver Eecke, Belgium
Marie-Anne Ver Eecke
Lives and works in Brugge (Bruges), Belgium.

Floats between throwing on the wheel and casting porcelain.
Fascinated by both disciplines...
I fire my works in the electric or gas kiln. I mostly use two glazes on
a work or Chawan. I like the interaction between the glazes.
A few years ago, I drank for the first time a matcha tea, and liked
the special taste a lot. To my mind, matcha asks for a matcha
teabowl, and as I am very fond of their shape and artistic look,
I began to design them.
Marie-Anne Ver Eecke

Oud-Strijderslaan 18
8200 Brugge
Belgium
www.potsculptures.exto.be
www.facebook.com/marieanne.eecke
marie-anne.vereecke@telenet.be
keramuze@gmail.com
...
Marisa Recchia, USA
Marisa Recchia
These Chawan were produced in a spirit of resonance between old
technology via ancient practices of firing pottery using the method of
wood firing and new technology, a recently built low carbon footprint
energy efficient smokeless wood kiln. They represent to me thoughts of
reverence and respect for the past, whilst embracing the present moment
and what presence has to offer.
Connections to ceremony, beauty in the movement of the potters wheel
and the dance of the flame as the kiln is firing. I think about the idea of
simplicity, honesty to form, and the space a form takes up, as well as
the space around the form.
Marisa Recchia
Murfreesboro,
Tennessee
USA
marisa.recchia@mtsu.edu
Marita Braet, Belgium
Marita Braet
The philosophy that sustains our Chawan is simply the happiness to live
our passion for pottery.
Its mainly about expressing our love and our identity with beauty and
elegance. And when the shape, the texture of the clay and the glaze
seize our heart, we feel a unique instance of happiness that we want
to share.
Firing our Chawan in our wooden fire or gas kilns - we built ourselves
- give us the time and the joy to share our passion and enrich our daily
lives, by meeting people who always turn out to become good friends.
They cherish the use our Chawan, and we love to make their life joyful.
Marita Braet
Rue du Colonel Speesen 54
4040 Herstal,
Belgium, Europa
+32 (0) 4 2642188
maritabraet@gmail.com
Mark Tyson, USA
Mark Tyson
Each of my Chawan is a unique ceramic sculpture, hand formed by
pinching, massaging and carving the clay. I strive for organic forms that
are comfortable in the hand and feel natural to hold and drink from.
I also try to give each piece a complex organic surface by wedging
material into the clay and by wood firing. Some of my Chawan are fired
multiple times to layer glazes over wood ash or other glazes.
Every Chawan that I have ever seen, handled or used subconsciously
influences my work. The synthesis of all of these memories allows me to
form my own unique work which then, in turn, will also influence what
I make in the future. It is the evolution of a Chawan artist. A seemingly
simple form that is actually the most complex, making the quest for the
perfect Chawan an endless one.
Mark Tyson
25 Kenmore Lane,
Media, Pennsylvania
19063
USA
001-484-443-8363
Marthe Vanhoutte, Belgium
Marthe Vanhoutte
Just love to work with clay, no more no less. To explore the limits of
clay is a challenge for me. I know that you can not imitate nature, it only
inspires me. In the busy world in which we live, clay gives moments of
silence and timelessness.
Taking a Chawan in my hands gives me the same feeling as cradling a
little bird: the most simple of all objects, yet an entire universe lies
within it. The Chawan as the perfect connection between heaven and
earth...
Marthe Vanhoutte
Guido Gezellelaan 1
1740 Ternat
Belgium
Cimh2000@gmail.com
...
Martine Rmy, Belgium
Martine Rmy
A Chawan is for me the opening to a new world, an endless path
but also a passion.
In relation to life, with its diversity and contrasts.
And as the realities of our world, Chawan can take many forms.
I approach the clay with humility and when the form takes shape
I can put my feelings and my soul. Simple object humble tea bowl,
it is the relationship with the world around us.
Photo Chawan on the right page:
Glazes scraped, 12.0 x 7.0 cm, electric kiln 1.250 C.
Martine Rmy
Rue Steenvelt 26 - bte 12
1180 Brussels
Belgium
martine-remy@skynet.be
,

12.0 x 7.0 1250
Mei-Yun Huang , Taiwan
Mei-Yun Huang
For me, the ceramic art in my creative consciousness is a form of pure

artistic expression, the aim of which is to express the spirit of the artists
internal experience, and a practical area of contemporary are.
In this area, the ceramic artist creates with non-metallic inorganic raw
materials for the structure, through the process of heat treatment.
Design, color, motifs, decorative on top of the fact that the
form should have a degree of originality, as well as the pottery creators
personal style and spiritual connotation.
I hope you can appreciate the beauty of ceramics with me.
Mei-Yun Huang
9F, No. 83, Nanhua Road
Fengshan District
Kaohsiung city
Taiwan
a0918836356@gmail.com
Jo Huang
,
,
,
Merrie Tomkins, Australia
Merrie Tomkins
Upon observing the tea-making ritual and after the Chawan is placed in
the hands, one is immediately awed by an intensity of intangible power
which evokes both a conscious and subconscious sense of thanks and
gratitude to spirit. What is the awarness of this appreciation for?
To whom or what do we give thanks? Is it the tea? The brewer?
The ceremony? Or is it the artistic creator of the Chawan? I believe it
encompasses all of this - for all that is - a moment of Zen.
During formation of my Chawan my cognitive perception beholds
this gratitude therefore allowing the energy to radiate through to
the Chawan.
The surface techniques I have used reflect the simplicity which is often
associated with Zen, thus each Chawan is perceived to possess an
infinite depth and significance invoking magic and a mystery of incalculable preciousness.
Merrie Tomkins
P.O. Box 46,
Eumundi, QLD, 4562
Australia
+61 412486438
www.merrietomkins.com
merrietomkins@hotmail.com
Ng Yang Ce , Singapore
Ng Yang Ce
When Ng Yang Ce first saw the Chawan of Steven Low, it struck

her immediately that a mundane functional object could capture
colors of nature.
She fell in love with ceramics and Chawan was the first hand thrown
form given to her.
Stevens Chawan has given her much inspiration for her own creation. Also, through her experiences with dance movement, she is
motivated to develop Chawan that are generously deformed with
strong movement dynamics. She is interested in experimenting with
various hand gestures (Mudra) involved during the process of hand
throwing to create various distortions which give greater sense of
energy to her creation. And just like Steven, she would always prepare a few sets of Chawan to begin with. It becomes her tradition
too.
Ng Yang Ce
Artist in Residency
85 Lorong Tawas
Spore 639823
Singapore
yangce@clayjourney.sg
Ong Lay Lay , Singapore
Ong L ay L ay
I am Ong Lay Lay, and I have been practicing pottery as a part-time

potter since the 1990s. I have participated in several pottery exhibitions including the Singapore Artist Directory Launch Exhibition and the
Nanyang Clay Group exhibitions. I feel that pottery is a very interesting hobby as it allows me to express myself in the form of artworks.
Chawan on the right page: Future invokes imagination towards the possibilities of the
universe. It is coiled stoneware, electric fired at 1200C, chun blue, 9x11x11cm.
First Chawan below: Steps of Life is meant to symbolise complexity of life like that
of the creation of a cup of tea, from the growing of the tea leaves to the brewing
of the tea itself. It is slab-built China clay, electric fired 1200C, honey coloured,
7x13x13cm.
Second Chawan below: Net represents the barriers between people, which need
to be overcome in order to truly experience the world. It is hand-made stoneware,
electric fired 1250C, 6.5x12x12cm.
Ong Lay Lay

Blk 339,
Hougang Ave 7, #12-411,
Singapore 530339
90

1200
9 x 11 x 11
():
12007 x
13 x 13
()
12506.5 x 12 x 12
Pang Swee Tuan Singapore
Pang Swee Tuan
Chawan has a rich history yet till this day it remains relevant and
possesses a sense of undying beauty. I love incorporating the intricacy
of ancient Chinese bronze works texture to simplicity in forms.
The appearance of my Chawan reminds us how culturally and historically rich the tea drinking ceremony is. To me, a Chawan is not a mere
container. It is something that reflects the potters emotions and ideas
through the interaction with clay, each never exactly the same.
Pang Swee Tuan

Block 485B
Tampines Ave 9
#09-144 Singapore
521485
pangsweetuan@hotmail.com
Patricia Cassone, France
Patricia Cassone
My links with Asia: Japan, South Korea, but also China and Taiwan,
these countries have, little by little, allowed me to understand that what
I wish to do is serve tea.
I find the same pleasure in the creation of the tea bowls as I do in the
spiritual state that one feels and shares during the Tea Ceremony.
The rituals involved nourish me and contribute to my finding equilibrium
in this world.
I am working Shino on stoneware in the Japanese traditional style
adaptated to my personal direction. Since last year, I m also working
with porcelain and stoneware in Yakishime woodfiring and Oribe.
Most of my works are thrown on the wheel, usually deformed and
curved, impressed, glazed by shino (own recipe) and fired in my
Anagama kiln or Feller woodkiln.
Patricia Cassone
1 La Valette
87160 St Sulpice les Feuilles
France
patcassone@hotmail.fr
www.patcassone.com
I produce my own stoneware with mixed clays with addition of wild

feldspath, sands picked up around my studio.
Paul Drapkin, Ukraine
Paul Drapkin
Paul Drapkin was born in 1965 in Dniepropetrovsk, Ukraine;
making ceramics since 1999. In 2009 he left the city for the almost
abandoned village Burty, where he built a wood-fired kiln.
His Pottery Park studio was established at the south-east of Poltava
province, the region well known for its old traditions of Ukrainian
pottery, scenic landscapes and deposits of clay.
My sources of inspiration are Japanese ceramics, the beauty of the land
around me and behavior of the material itself. From wood-fired stoneware I expect to get on the one hand, perpetuation of the raw pieces
beauty, on the other hand, achievement of an extreme degree of firing
transformation, one step before (or even after) the materials destruction.
The greatest success for me is an obtaining a harmonious combination of
these two mutually contradictory results in one bowl.
Paul Drapkin
Ukraine
paleodrapkin@gmail.com
www.pottery-park.com
The clay, the fire and the artist are equal partners in the pots creation,
giving one infinite wonder. The most exciting moment, the kiln opening,
can be compared with a new planets discovery, finding a place where
there was nothing before. Thats the reason to make a Chawan.
1965Dniepropetrovsk
19992009
Burty
Paula Groote-Versteegen, The Netherlands
Paula Groote-Versteegen
Since I was aware of the Chawan, it has been enriched my life.

Tea drinking with a Chawan symbolized for me earthly existence
reduced to the essence; the pure and imperfect natural forms combined
with a ritual treatment. A world of ancient old traditions with the use
of contemporary comfort. Since I make my own Chawan, tea tastes and
smells much better!
Paula Groote-Versteegen
Hoekstraat 56
5674 NP Nederwetten
The Netherlands
pgroote@onsnet.nu
www.paulagrooteversteegen.nl
Peter Kuo , Taiwan
Peter Kuo
The color of iron transforms, with time brushing on vintage gold to

express the taste of old tea.
Subject: Iron accessories
Size of ceramics: 11 x 10 cm
Peter Kuo
No.14-1, Jianshanpu Rd.
Yingge Dist.
New Taipei City 239
Taiwan
0935 576 958
peter721018@hotmail.com
:
: 11 x 10
with a swing in my step. Thank you Hawaii & Japan! *****
Singa
Now.
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Back in my student days, Chawan already made a profound

imprint on my memory,
because my teacher, Mr. Low, often used a Chawan he crafted
to make tea for us in his spare time.
Unwinding after hard work, I drank tea with his Chawan in my hands,
feeling particularly moved, invigorated, and inspired.
As his student, one gets naturally captivated by Chawan
and comes to develop a deep admiration for Chawan.
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My teacher has devoted himself to a life of education. His lifelong

goal is to cultivate students in the culture of ceramic art. This exhibition brought together many of his students, who express their personal
insights on the Chawan culture as well as their technical or conceptual
artistry, for which I am overcome with utmost gratitude.
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Pierrick Lacord, France
Pierrick L acord
When I make a Chawan, Im looking for the Dance of the World the one we can see in the curve of a tree, or in the course of a bird.
The Chawan, a microcosm in the palm in the service of tea,
must have a true presence. It can pass unnoticed, but if we take some
time to discover it it opens a universe of possibilities.
There is something about the invisible axis of the world in the bowl,
which is not drawn but present. The bowl receives the tea as it receives
the universe.
When we look at a great Chawan from afar, and then come closer to it,
we realize that the inside space is much larger than what we could have
imagined at first.
Its as if the inside space was freed of the sides of the bowl.
Pierrick Lacord
Le vieux Lardicou
81200 Caucalires
France
pierricklacord@gmail.com
www.pierricklacord.com
The Chawan offers a very special space, ready to receive something

different, something else. It invites us to free ourselves from our own
sides, our own walls. Thus, the Chawan is also a mirror which can
reveal some parts of ourselves.
Drinking tea in a Chawan - its making the choice to take time,
a time to be.
--
Ray Meeker, India
Ray Meeker
Continental Drift
Forty-four year ago, drawn to the philosophies of the East.
From California to India. To Pondicherry.
Founded the Golden Bridge Pottery
With Deborah Smith.
Kanchipuram. 120 kms north.
1600 years ago. Bodhidharma leaves India for China.
Initiates Chan Buddhism. Meditates.
Drinks tea. Meditates.
Japan. A millennium later.
Sen no Rikyu refines the tea ceremony.
The Korean rice bowl his Chawan of choice.
Ray Meeker
25, Dumas St.
Pondicherry 605001
India
October 2013. We visited Japan.

Lots of tea bowls.
Back in my studio I make bowls.
Taking the first from the kiln,
An sms. A link to the International Chawan Expo.
Singapore.
The tea bowl. An earthen bridge.
Uniting peoples. Cultures. Histories.
Communion. Lift a chalice
In the profound spirit of Zen.
Or just for the pleasure of holding beauty close.
Ria De Troch, Belgium
Ria De Troch
For years I have worked as a physiotherapist, kneading people who
were out of balance, making them whole again. Now I find inner peace
and satisfaction in kneading clay. The hands with which I used to heal
people are the same hands with which I now bind warmth, intimacy,
strength, color and harmony into a Chawan. My Chawan.
I had the unique opportunity to exhibit my work in Japan.
The contact with Japanese culture and the symbolism and traditions
of the tea ceremony reaffirmed my faith in the power of the soul, the
expression of creativity and finding balance in this world.
Ria De Troch
Stenebrugstraat 38 A
1741 Wambeek
Belgium
riadetroch@hotmail.com
Richard Heeley, UK
Richard Heeley
Chawan
A tea bowl is initially simple in appearance. However, the journey of
its creation can be complex in the search for perfection and balance.
Does it feel right in the hands, have a comfortable shape and weight, is
the texture of its belly pleasant to the touch and is the rim inviting
to drink from? Is the foot pleasing in its proportions to the body of
the bowl and does the glaze produce appreciation from the viewer?
Drinking tea should relax and calm the mind - does the vessel compliment this action or create conflict?
These considerations must be taken into account to create a Chawan
that is formed from earth, water and fire, and shaped by the hands
of man.
Richard St John Heeley

60 Belmont Road,
Sutton, Surrey,
SM2 6DW, UK
richardheeley@blueyonder.co.uk
www.richardheeley.com
If the potter achieves respect and understanding of these elements he

can create a Chawan that has a quiet but strong voice; one that speaks
softly of its creation but looks and feels natural in its existence.
I grew up in Stoke-on-Trent, surrounded by pottery. I studied 3D
Design at Manchester University and focused on oriental ceramic
traditions. I strive for minimalist designs that sit harmoniously within the
pots composition - fluid lines working with the thrown form and proud
brush strokes that create a narrative of the landscape.
Rick Mahaffey, USA
Rick Mahaffey
I find the spirit and feeling of old Chawan from Japan to be very
enchanting. The combination of the local clay, local glaze materials, and
fire create a small bowl that can be held in the hands, yet it can seem to
contain a universe. In my work I try to find a way to use the inspiration
from ancient Chawan and infuse my work with a small part of that spirit
or feeling. I like working with both modern and traditional kilns to fire
my work. I think the challenge of working on a piece that has a use is
one that helps me to find inspiration.
Most of my Chawan are fired in one of the two Anagama in my local
area. I sometimes depend on the accumulation of ash from the wood to
create the surface and at other times I use glazes.
Rick Mahaffey
2101 North Prospect St.
Tacoma, WA 98406
USA
rickmahaffey@comcast.net
rmahafey@tacomacc.edu
Rowland Drysdale, Australia
Rowland Drysdale
An obvious and attractive quality of the Chawan is to witness how a

ceramic object has played a pivotal role in a ceremonial and potentially
spiritual practice.
Contemporarily, this is not specific to Japan or for that matter Korea,
but has become arguably a universal form which can conjure a host
of narratives.
One that has been suggested is that of the subversive, especially
when married to the use of found, hand prepared clays (Webb, Jerry.
Australian Ceramic Conference notes. Adelaide. 2012.)
During the last wet season clay exploded from a cutting on a nearby
highway. Dodging speeding cars and triple deck semi trailers, one can
gather that clay and ultimately take it to a quieter place - yours or somebody elses hands in the form of a Chawan.
Rowland Drysdale
Quixotica Art space,
151 Musavale Road,
Cooroy, Qld. 4563.
Australia.
61 403 761 791
rowlsd1@gmail.com
2012)
Sandra Mihaljevi, Croatia
Sandra Mihaljevi
Water gives the Earth to the Spirit to be shaped,

then surrendering it to be Air.
I initiate my work by Fire
to taste the pure Water.
It is difficult to say something simple about the joy of creating
Chawan... encountered them in Atelier Janja Gora and still making
another one.
Sandra Mihaljevi
Trg Vladimira Nazora 3
10310 Ivani Grad
Croatia
sandra93miha@gmail.com
...Atelier
Janja Gora
Sandy Lockwood, Australia
Sandy Lockwood
In 1997, I was invited to participate in an exhibition organised by

the Little Tea Society at the Australian Embassy in Tokyo. To better
understand the philosophy, aesthetics and purpose of the Tea
Ceremony, I began studying Tea through the Urasenke Foundation
in Sydney.
During this time I came to see how tea bowls and tea ware can be used
to enhance the unique aesthetic experience of tea ceremony. I also came
to an understanding that there is also plenty of scope for enjoyment of
this work as objects of beauty and spirit in everyday life in Australia as
well as in Japan.
I make tea bowls because they engage my curiosity. They intrigue me as
a path for experimentation in making and firing.
Sandy Lockwood
9 William St.
Balmoral Village
NSW, 2571
Australia
slockwood737@gmail.com
www.sandylockwood.com.au
I hope my tea bowls offer an invitation to be held, to invoke

contemplation and imagination, to travel beyond its immediate function.
When making tea bowls, I try to pare back anything that is not
necessary, to achieve a subtle essential essence of expression.
1997
Urasenke
Sathorn Cholachatpinyo, Thailand
Sathorn Cholachatpinyo
Summer tea bowl with natural ash glaze.

Handbuilt stoneware, wheel-throwing technique to the top.
Working with Chawan Contemporary in the Nature series
Sathorn Cholachatpinyo
34/2 Moo2 Pattana Rd,
Bangprom, Talingchan,
BKK 10170
Thailand
sathorn_c@hotmail.com
Sebastian Moh, Kentucky, USA
Sebastian Moh
Holding with both hands, a bowl makes me humble.
Sebastian Moh
Louisville, Kentucky
USA
www.SebMoh.com
Sekporn Tansripraparsiri, Thailand
Sekporn Tansripraparsiri
I am impressed with the pattern and surface of Chawan, which are the
result of wood-fired technique and natural ash glaze. They just look like
the mists covering mountain peaks.
Photo on the right page:
Chawan in the mist 2014-1
Wheel-thrown red stoneware, natural ash glaze, wood-fired anagama.
13.5 x 13.0 x 9.0 cm.
Photos on this page:
14.0 x 14.0 x 9.0 cm.
Sekporn Tansripraparsiri
Valaya Alongkorn Rajabhat University Under the Royal Patronage.
Phahonyothin Rd.Km 48
A. Klongluang Pathumthani
13180 Thailand
sekporn@yahoo.com

13.5 x 13.5 x 9.0 cm.
2014 (13.5 x
13.0 x 9.0 )
()
2014 (14.0 x
14.0 x 9.0 )
()
2014 (13.5 x
13.5 x 9.0 )
Shee Bee Heo , Singapore
Shee Bee Heo
Chawan of Nature by Shee Bee Heo

Chawan #1 depicts the recent dry spell in Singapore where the green
grassland was transformed to an orange pasture of dry grasses (photo at
right).
Chawan #2 depicts the burnt pasture with its black char like glaze
colour (photo left top).
Chawan #3 depicts the regeneration of the green grass pasture after the
long awaited rain with its green colored glaze (photo left bottom).
Shee Bee Heo

Ceramic House
Singapore
67840024
www.ceramichousesg.com
ceramic_house@yahoo.com.sg
()2
()3
Shih-Chien Weng , Taiwan
Shih-Chien Weng
Silver Oil-spot Tenmoku: Simple form with stars scattered in the night
sky, it is peaceful and serene.
Wood-fired Shino Chawan: A simple combination of glaze, interwoven
with fire in the kiln, created amazing colors with lustrous texture, transformed into a tender Chawan.
Copper-red Chawan: Copper-red glaze is extremely uncommon since
ancient times. Through experience with several successful firings, I was
able to control the fine-tuned layers of the red palette, such as rabbit
hair-like patterns or bright red of freshly congealed ox blood. The
seemingly downward motions exhibited in the glaze brought warmth
and strength.
Shih-Chien Weng
No.84, Ln. 823, Sec. 1
Changhe Rd., Annan Dist.
Tainan City 709
Taiwan
: ,,,
: ,
,
: ,,
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Shu Chen , China
Shu Chen
The human feelings of Chawan
Ever since I was enlightened by the Honami Koetsu Raku Chawan,
I decided to give up the ideas of creating the modern ceramics.
I devoted myself to making Chawan. And I felt it is not just a useful
functional ware for modern people to enjoy. The reason it is so beautiful
is because we use it more; more people are willing to use it, because its
so beautiful. And more cherish it when we use it.
I think even the most beautiful industrial products are lacking compassion and warmth. When the Chawan is made, it embodies the consideration of humanity, the soil, and glaze materials, leaving traces when
peoples hands in the process of molding and glazing. These considerations are not just for aesthetics, but also for the user.
Shu Chen
Room 11, Unit 3, 6F, Building 5
Waishang Residential Quater
No 20, Nongye Road
Zhengzhou City, Henan
China
Tel:13663712343
Email:83604550@qq.com
http://blog.sina.com.cn/tinsyo
Soh Keng Thiam Singapore
Soh Keng Thiam
What fascinates me most about Chawan is that, being such a simple

object, it allows you huge room for any creative expression. I like
simplicity in form and in appearance. The natural texture of the Chawan
and the contrasting raw stroke across the form create sense of organic
beauty. Ironically, the white line though breaks up the form and brings
about a sense of peace and harmony to my works.
For the most part, creating Chawan has evoked a sense of inner
peace and has provided me a deeper sense of humility.
Soh Keng Thiam

Block 101
Simei Street 1 #05-886
Singapore 520101
pangsweetuan@hotmail.com
Somkane Kiatkong, Thailand
Somkane Kiatkong
Tea drinking has a long history and it is considered a part of Asian

culture for centuries. For me, drinking tea among natural environments,
such as waterfalls and gorgeous scenery, makes the taste of tea much
better. Natural beauty is also the inspiration which wakes me up in the
morning to throw these set of Chawan. Enjoy!
Somkane Kiatkong
Thailand
som0425@yahoo.com
Sophia Teng , Taiwan
Sophia Teng
Ive been learning ceramics since 1996, because of that, I married a

ceramist. It was 18 years ago. After marriage, I became a wife, an
assistant, a cook and a worker - so many roles made me feel that making
ceramics was no longer a pure happiness. It took me a long time to
practice and to find the balance.
There is a on all my ceramics. It is my symbol, also part of my
Chinese names. It can be a tree, or a forest when it appears repeatedly.
It also means pointing out error, or simply No. let you look at
things in another ways, and if you turn to another direction, things can
be different again.
Fey Bowl high-temperature wood-firing, 2010
Sophia Teng
No. 7, Dapuding
Neighborhood 7
Gongguan Village
Zhunan Township
Miaoli County 350,
Taiwan
199618
2010
Steen Kepp, Sweden
Steen Kepp
My bowls are stories.
I do not look for either originality or inventions. I am a poet. My work
has always been influenced by my imaginary visions. Ideas or moments
of inspiration come to me visually through dreams. I dont believe in
only one incarnation.
It is the exhange of energy within the making and transforming of materials (wood, clay, water etc.) that interests me in my work as a ceramisist.
This is as much the case for classical production as for personal creation.
It is a fundamental truth that all energy creates its opposite. I sincerely
believe that ceramic work is based on this fact and is submitted to this
opposition of energies. The essence of my approach can be found
within the following quote:
Steen Kepp
Skogsvgen 7
289 50 Hanaskog
Sweden
steenkepp@telia.com
One particular quality of the clay is its ability

to keep and to express what is entrusted to it.
The Cosmopolitan, 1604.
All bowls were yakishime fired (long time woodfired) in my tunnel kiln (Teppo
gama) in La Borne, in the firing named Terre Mmoire, 2010.
Bowl 1 (diameter 14 cm, high 7 cm ) and bowl 2 (diameter 11,5 cm, high 8
cm) fired in the front of the kiln at the floor level, resting on sea shells upside
down, to about 1300 C.
Bowl 3 (diameter 14 cm, high 7,5 cm. Dcor mishima) fired on a shelve in the
front of the kiln, resting on its side on sea shells. Fired to about 1330 C.
Photography: E. Karlsson, Peggy Eklf
()
Bowl 2

1604
Bowl 1
2010Terre Mmoire
14711.58
1300
147.5
1330
Bowl 3
Stella Tan Si Hui , Singapore
Stella Tan Si Hui
Clay - is something that I have been playing, messing around and

getting dirty with since young. Growing up in a pottery industry,
Thow Kwang Pottery Jungle, has definitely exposed me to various forms
of ceramic art works by many artists, as well as glazes and traditional
wood firing.
I began to explore and work with clay at sixteen, and the first thing that
came to my mind then was: I want a cup that I can use at home.
As I grew older, now, my wish is to cherish the legacy and spirit
of craft, industry and endeavor that were passed down from my
grandparents.
My creations are practical, mostly inspired by things from my daily life,
and the effects are results of wood firing and natural reaction with glaze,
ash and salt.
Stella Tan Si Hui

Thow Kwang Pottery Jungle
85 Lorong Tawas
Singapore 639823
98239271
pottery@thowkwang.com.sg
Expressing myself through clay is another way of viewing myself,

multi-faceted, in the final creation.
Steve Harrison, Australia
Steve Harrison
I have had a persistent and committed interest in Chawan since my
apprenticeship to a Japanese potter in the early seventies. I can still
recall the first Chawan that I was allowed to handle and the beautiful
scars that it left in my psyche.
I have collectors who have bought my bowls for tea ceremony and that
pleases me. I havent formally studied tea, so Im not sure if I can really
call my bowls Chawan.
I have been strongly influenced by both Japanese and Chinese
ceramics. Seto, Shino, Iga, Shigaraki and Bizen wares, as well as the
rich, soft celadon and jun qualities from the Song dynasty, so much so,
that this aesthetic sensibility has soaked into me and precipitated back
out again in my use of my local native bai-tunze porcelain-stone and
washed basalt gravel to make Chawan that are inspired and informed by
those lovely old wares.
Steve Harrison
Old School Railway Pde.
Balmoral Village
NSW 2571 Australia
hotnsticky@ozemail.com.au
www.hotnsticky.com.au
I have also been influenced by some of the Chawan that I have

handled during my studies in Japan. There is something indescribable
about the subtle beauty of these objects that permeates the skin and
enters the soul through the senses imperceptibly while handling them.
Such beautiful objects, once handled, are never forgotten.
Steven Branfman, USA
Steven Branfman
I have always made bowls. Soup bowls, rice bowls, bowls for chili and
for chowder. Bowls made for serving, mixing, baking. Bowls for salad,
for pasta, for storing. But there was one bowl I didnt see.
When my son Jared started studying pottery he was drawn to the
bowl. Jared saw the bowl. Jared made bowls, real ones, authentic ones, excellent ones. Jared made tea bowls, the most exquisite
Chawan, from the depths of his soul.
The bowl I didnt see, that is, until Jared started making them. I had
made bowls that could be, and probably were, used for tea. If my bowl
became a tea bowl it was from use not from design. I never called my
bowls tea bowl.
Steven Branfman
The Potters Shop
31 Thorpe Road, Needham
Massachusetts 02494
USA
sbranfpots@aol.com
www.ThePottersShop.com/stevenbranfman
On September 27, 2005 Jared passed away from cancer; he was 23

years old. A week after his passing I went into the studio. I stood. I
sat. I looked around. I cried. I was frozen. I couldnt bear to be there
but I couldnt leave either. I sat at my wheel empty of creative thought.
After a few moments I got up, got some clay, and threw a bowl. I had
made my first tea bowl.
The next day I made seven more. The next day I made one, and then
one each day for a year. The only pots that I made that year, no matter
where I was. The Chawan I make are from my heart. They are all made
in Jareds memory. I hope you can see them as I do.
Jared
Jared
2005927Jared 23
Jared
Steven Low Thia Kwang , Singapore

Residential Artist with
Thow Kwang Pottery Jungle
85 Lorong Tawas
(off) Clean Tech Loop
Spore 639823
steven@clayjourney.sg
http://clayjourney.sg/
Chawan has been Stevens collection piece for 20 years. He would

always prepare a chamber of Chawan using gas or wood firing. His
feelings for Chawan go back to all Chinese staple food, rice and Zen
meditation.
Many know Chawan as ware for drinking tea, yet few know that
Chawan may refer to a rice bowl. Chinese look upon bowls as highly
significant. Unlike Westerners who often use plates for serving, bowls
are used to serve rice in Chinese culture. In early days, elderly people
could not have a meal without rice. And though now many choose to
substitute rice with porridge, bowls still have to be used to serve. Given
this importance, Steven considered Chawan to be the iconic representation for his collection piece.
Zen meditation is the other inspiration for Stevens Chawan. Zen leads
to the Way of Tea, in which each stage from the selection of the tea
leaf to the handling of equipment is to be done attentively. Hence,
Steven forms the Chawan with extreme care. He hopes that the user
will practice Zen meditation and deepen their sense of appreciation for
his ceramic arts.
Each of Stevens Chawan is fired at high temperature for safe usage.
The shapes are specially designed with a spiral from knuckles to allow
users to fit their hands perfectly on the bowl. Also when glazing Steven
chooses to leave the marks of his fingers as his trademark. He wishes
all to hold his Chawan close and feel a sense of warmth, sincerity and
attachment within.
Thomas Akira Arakawa, Japan
Thomas Akira Arakawa
The pottery making process is magic. The things existing just in my

imagination become tangible objects which add value to peoples
everyday life. At almost all stages of the pottery making process,
creation is measured by the human senses. The handmade process
measured by the human senses reflects my emotion and passion in the
tangible result. It affirms my Japanese heritage and American influence.
I aspire to make unique functional pottery that reflects myself, fits the
American lifestyle, and enriches customers everyday lives. As I am
making pottery, I think about how individual customers use my pieces
and how they affect their lives. This gives me a unique connection with
the people who use my pots.
Thomas Akira Arakawa

USA, Japan
15900 Blossom Hill Rd
Los Gatos, CA 95032
USA
thomas.a.pottery@gmail.com
arakawapottery.com
I achieve my goal by making functional pottery as an collaborative

work between me and customers. Most of my functional ware are half
complete as art. My ikebana vessels and bonsai pots are complete as
art when customers put in their plants. My Chawan are complete as art
when used in a tea ceremony.
Toh Kiam Hock , Singapore
Toh Kiam Hock
I have never quite made Chawan before. Personally, I am a specialized

wood-firing sculptor, and am well-known for my undefined hand-built
Rhino form. However, when Steven approached me with Chawan Expo
Singapore, I thought, I would sign up as a potter, a wood-firing lover
and as someone who dedicates his spirit, thoughts and time to what he
is fond of doing, a celebration of a life-time passion.
Hence, I got down to explore the different types of clay medium which
I would use for manufacturing tea bowls, and which are suitable to
be fired in my newly renovated wood kiln, modified from a gas one.
Each firing took as long as 27 Hours to complete, at a temperature of
1280C or more.
Several months later, I finally found something acceptable which
somewhat would represent myself as a ceramic lover. I look forward to
participating in the exposition and sharing my insights with everyone!
Toh Kiam Hock

Jalan Bahar Clay Studio
97 Lorong Tawas
Singapore 639824
+65 9736 9619
()
Tom Charbit, France
Tom Charbit
I like whats in motion, whats lively, what gives a sense of freedom and,
in my work as a ceramist, what escapes from any intention, or at least
seems to do so. In that sense I feel close to a fairly traditional form of
Japanese ceramic attentive to the language of the clay, to the beauty
of the accidents, where the work of the artist is no longer visible.
Nature inspires me. Im fascinated by the complex patterns that one can
find on dried ground, a cliff, the barks of trees, or a crust of bread.
These patterns are not random. They form a kind of language created by
the interaction of the elements, such as air, water, or fire.
My work with the clay is an exploration of this language. However, as a
metteur en scne who highlights what he believes is meaningful, I dont
leave the whole story to chance.
Tom Charbit
07120 Balazuc
France
tom@tomcharbit.com
www.tomcharbit.com
www.facebook.com/
tomcharbitceramics
Veronica Newman, France
Veronica Newman
Veronica makes hand thrown porcelain bowls, exploiting the delicacy

and the translucency of the porcelain. She likes to explore colours that
flow and blend into the bowl from the rim on some bowls and makes
incised decorations to highlight the translucency on others. All the work
is fired in an electric kiln.
After working for many years in Scotland, Veronica moved to France in
2008, but she continues to work occasionally in Scotland as well as in
France and exhibits regularly in Scotland, England and France. She is a
member of the Scottish Potters Association and of Terre et Terres.
Veronica Newman
Lasmurailles
32190 Belmont
France
veronica@veronicanewman.com
www.veronicanewman.com
Veronica
2008
Terre et Terres
Vincent Lim Huong Siong , Singapore
Vincent Lim Huong Siong
It is an ordinary lump of clay, commonplace in the eye of common

people. Once I shape it into a bowl, it transforms into art, both
aesthetic and functional.
Graduating with a ceramic art major in 1973, I have been destined to
live a life with ceramics. I create ceramic artwork and enjoy the process
of pottery-making. I also teach ceramics and promote the art at the
school and the local community, with an aim to share the joy in the
art with a broader audience. Ceramics enables me to relax, to let go
of myself in creation, to cherish the moment of pottery-making, and to
share my works with you on this occasion.
Vincent Lim Huong Siong
Blk 242
Serangoon Ave 3 #09-192
Singapore 550242
1973
Yami Carlino, Argentinia
Yami Carlino
Fascinated, by apparently a simple object, that in reality it is not,
I decided to start my Chawan-making way.
When doing them, I try to free my mind from a shape on purpose, and
let my hands travel through the clay, finding myself in a forming process
that becomes natural, like breathing, and abstracted from all.
During that clay journey of forming a Chawan, Im not only in search of
giving birth to a beautiful vessel, well balanced and weighted, with a lip
friendly rim, but also, and the most important task I face, is to give it
Soul. Soul, which is a reflection of mine. Soul that hopes to be discovered by a pair of empty hands wishing to cuddle it and become partners.
Yami Carlino
Ministro Brin 3039, 2nd floor A
Lans Oeste,(postal code) 1824
Buenos Aires
Argentina
yamilacarlino@yahoo.com.ar
www.facebook.com/yami carlino
www.facebook.com/divino cuenco
Yan Ling Loy, Singapore
Yan Ling Loy

A chance occasion when I was using a handmade bowl got me realising
how good it felt sitting my palms. From then on, I have been attmepting
to create bowls that can provide a more tactile experience for the user.
Be it in form or a contrast in textures, there will be boundless temptations for the user to not only see but also experience it in his warm cup.
Yan Ling Loy

26 Bukit Batok East Ave 2
Singapore 659920
euphoramics@gmail.com
Yoko Asai, Japan, Singapore
Yoko Asai
When I thought of what to make for pottery, I always wanted to relate
to the botanical, such as for the shape and for its color. In drawing
simple flowers or leaves on my pieces, my originality will come up.
Figures of moss or any antique things will bring me some ideas for
coloring very much.
I always feel relieved when I use my ceramic pieces for supper or see
them at the balcony with plants.
Its been about 5 years since I started to learn pottery. The more I learn
and understand about pottery, Ill be excited and will desire to be a
more advanced potter each time I create them.
Yoko Asai
+65 9092 7702
yoc728@gmail.com
Yu Li Yuan Liff , China
Yu Li Yuan Liff
A beautiful food container is better than exquisite food. Being the

key element in the history of tea culture, tea utensils have been closely
linked with Chinese life. Tea Bowl has its record before the Tang
Dynasty. According to the Chinese literature - Bo Ya, it was named
Tea Cup in the Sung Dynasty. During the Tang dynasty and the period
of Five Dynasties, Yue Kiln in ancient South China and Xing Kiln in
the Northern part were the most famous kilns for tea bowl making.
Yu Li Yuan Liff
No.13, Zhuyuan 2nd Street
Haoshijie, Zhongcun, Panyu,
Guangzhou, Guangdong, China
Zip Code: 511495
Tel: +8620 84776769
Mob: +86 13703039901
Email: yongyaotang@sina.com
http://weibo.com/u/5077143856
Trays for tea bowls also started to appear at that period. People paid
more attention to the fineness of tea utensils as tea competition became
popular in Sung Dynasty. The appearance of tea bowls also changed
according to the prevailing tea culture. Tea drinking was endorsed with
a cultural significance, resulting in the quest for matching of proper tea
utensils. This developed the ceremonial formality and the growth of tea
culture. The design of the tea bowl changed as the tea culture shifted.
It exhibited the growth and development of folk art and ethnic culture,
reflecting their attitude towards life.
Yu-Sheng Lin , Taiwan
Yu-Sheng Lin
The Flame of the Heart

During the creation of my works, I always reflect upon how to introduce
modern elements into a traditional art form. In the firing process, I try to
communicate with the flames, and hope to explore the potential of the
iron enamel (which is traditionally named black glaze) to the fullest.
Yu-Sheng Lin
No.49, Dongsheng Road
Beitou, Taipei
Taiwan
(02)28943804
Yu Wei Su , Taiwan
Yu Wei Su
I use the iron element in the Tenmoku glaze. Following the rising air
bubbles in the glaze, iron aggregates on the surface, resulting in different glaze formations, as well as small crystals. As time goes by, more
and more of these small crystal spots surface, like lemna floating on the
water.
It is a great experience to be able to create ceramic works with such
high firing temperature.
Yu Wei Su
Masters Program, Department of
Art and Design, National Taipei
University of Education
tel: 0987-700-875
yuweisu1987@gmail.com
Zstro Leow , Singapore
Zstro Leow
It is an honor to be participating in the 16th International Chawan

Expo. Being a ceramic student of the Nanyang Academy of Fine Arts,
I am proud to be representing my school in this event.
Chawan is one of the few things in life that can be done perfectly
imperfect. Every Chawan is beautiful in its own way, just like mankind.
However, everyone is born with flaws, while the majority cant accept
the people the way they are. Whenever I look at different individual
Chawan, it is as if I am appreciating the unique difference of each
human being.
Zstro Leow
Phone: +65 9628 4439
Email: leowwj@outlook.com
www.facebook.com/hecticland
I consider nature and mankind as one, hence, the color of the glazes
represent nature while the form portrays individual being. I trim my
foot in a way to compliment the shape of my Chawan in order to show
a drastic contrast. The deep depth of my Chawan shows how much
you can actually understand people beneath, while the uneven surface
conveys a message of not judging people by their appearance.
Now, let my Chawan speak for itself through its beauty just like we do.
16th
ocus Ceramic Services
15 West
PasirPasir
Panjang
Building,
Singapore
117861
15
WestCoast
CoastHighway,
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#03-11
Panjang
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117861
Tel
(65)
6777
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Email:Bahar
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Bahar Clay
Studios:Tawas,
(Dragon
Kiln Village),
Jalan
Clay Studios: (Dragon Jalan
Kiln Village),
97L Lorong
Singapore
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Focus Ceramic Services is a Supplier of Ceramic Materials, Equipments, Tools etc to the Schools, Junior Colleges, Community Clubs
and Art & Pottery Studios, and managed the Jalan Bahar Clay Studios at 97L Lorong Tawas offering:
Focus Ceramic Services is a Supplier of Ceramic Materials, Equipments, Tools etc to the
Schools,
Junior Colleges,
Community Clubs and Art & Pottery Studios, and managed the Jalan
Pottery Education
Tour
To
visit
and
understanding
one
the oldest
traditional
Lorong
Tawas Dragon
offering:Kiln in Singapore.
Bahar Clay Studios atof97L
To understand the process of clay work from raw material to finish product.
During the visit, you will be able to see local established Potters at work in the workshop.
Pottery Education Tour
Electric
Gasunderstanding
Firing service one of the oldest traditional Dragon Kiln in Singapore.
To
visit &and
To understand the process of clay work from raw material to finish product.
Rental ofthe
Open
During
visit,Studio
you will be able to see local established Potters at work in the workshop.
Rental of Open Studio includes the use of the Pottery Equipment (Electric Wheel, Pugmill, Slab Roller, Clay Extruder) excluding the
cost of Materials
and Firing.
Electric
& Gas
Firing service
Sales of Ceramic
Equipments
Rental
of Open
Studio
Kilns and Furnaces Ltd UK Front Loading Electric Kiln

North Star
USA Studio
- Clay Extruder,
Rental
of Open
includesSlab
the Roller
use of the Pottery Equipment (Electric Wheel, Pugmill, Slab
Paragon
USA
Electric
Kiln
Roller, Clay Extruder) excluding the cost of Materials and Firing.
Potclay Ltd UK - Glazes, Clay
Shimpo Japan
Electric Potters
Throwing Wheel & Banding Wheel
Sales
of Ceramic
Equipments
Shimpo Japan Gas & Electric Kiln
Shimpoand
Japan
Pugmill Ltd UK Front Loading Electric Kiln
Kilns
Furnaces
Spectrum
North
StarCanada
USA - Glazes
Clay Extruder, Slab Roller
Paragon
USA
- Electric
Kiln
Talisman NZ
- Pottery
Equipment
Potclay
Ltd UK -Clay,
Glazes,
Clay
Walkers Australia
Glazes
Shimpo Japan Electric Potters Throwing Wheel & Banding Wheel
Shimpo
Japan
& Electric
Kiln
Should you
needGas
further
information,
please check at website: www.jbcs.com.sg or contact Phone 67771812 or Fax 67771595
Shimpo Japan Pugmill
Spectrum Canada Glazes
Talisman NZ Pottery Equipment
Walkers Australia - Clay, Glazes

NABERTHERM ELECTRIC KILN (STAINLESS STEEL HOUSING)

Should you need further information, please check at website: www.jbcs.com.sg or contact Phone
67771812 or Fax 67771595

ChawanExpo Singapore Catalogue

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ChawanExpo Singapore Catalogue

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141 International Chawan Makers

Organized and directed by: Steven Low Thia Kwang

INTERNATIONAL Chawan EXPO SINGAPORE 6th SEPT to 14 SEPT 2014

Foreword Prof. Lou Smedts

Chawanexpo - Taiwan 2013

Foreword Prof. Lou Smedts

Chawanexpo - Singapore 2014

Foreword Steven Low Tia Kwang

Ng Yang Ce Lou Smedts

Steve HarrisonRay Meeker/JuiHua Lin Kurt Spurey

Chawanexpo - Singapore 2014

Steven Low Thia Kwang

Branko upica, Atelje Janja Gora, Croatia, Chawan story

International ceramics centre

A brief history regarding the tea ceremony and Chawan

A brief history regarding the tea ceremony and Chawan

Chawanexpo - Singapore 2014

Nothing in ceramics exceeds the tactile experience of a beautiful

Alvin Tan Teck Heng , Singapore

Alvin Tan Teck Heng

Chawanexpo - Singapore 2014

Alvin Tan Teck Heng

Alvin Tan Yuan Kiat , Singapore

Alvin Tan Yuan Kiat

Chawanexpo - Singapore 2014

Amy Yin Ling Yeung , Hong Kong

Amy Yin Ling Yeung

I never think of being an artist in my life and my path of working with

Chawanexpo - Singapore 2014

Amy Yin Ling Yeung

Andrew Walford, South Africa

The tea bowl for me epitomizes all that I am aiming to achieve

Chawanexpo - Singapore 2014

Anja Slapniar, Slovenia

Chawanexpo - Singapore 2014

Ariane Artignan-Coissieux, France

Ariane is a Master Potter and Ceramist whose creations are founded

Chawanexpo - Singapore 2014

Influenced by the culture of the far East, her father Christian

Bathma K aew-Ngok, Thailand

Clay, water, wind, fire, wood, and me... play together.

Chawanexpo - Singapore 2014

Bhavani Sivalingam, Singapore

The inspiration for my work primarily comes from a fascination for

Chawanexpo - Singapore 2014

Branko upica, Croatia

Chawanexpo - Singapore 2014

Brigitte Papazian, Switzerland

To get up in the morning

Chawanexpo - Singapore 2014

Brigitte Reuter, The Netherlands

As a young girl I travelled in Japan, an experience that influenced me

Chawanexpo - Singapore 2014

width 11,5 cm x height 9 cm

Chak Kwok Sun , Singapore

Chak Kwok Sun

Art of Zen by Chak Kwok Sun

Chawanexpo - Singapore 2014

Chak Kwok Sun

Simply being themselves in their original nature is the art of Zen.

Different dynasties in Chinese history have their unique styles and

Clay body creation - Using a traditional form as a starting point,

Chawanexpo - Singapore 2014