Justin Hoffman
Justin Hoffman
Feb 2024
What was the catalyst to becoming a potter ?
After many years of painting I got to a point where I wanted to work in a more of a 3D medium. I have always loved working with my hands and had a passion for sculpture, so I took a basic hand building pottery class and something just clicked. I felt a connection with clay unlike anything I’ve experienced before. Something seemed so primal, but familiar. Almost like I experienced it in a past life. From that point I never stopped, and I have struggled to paint ever since.
You mentioned that you’ve been heavily influenced by Japanese styles of pottery, particularly the Shigaraki Yaki style. What is it that draws you to this style?
Being a collector of Japanese ceramics for some time, I was already drawn to the fascinating texture and color of the Shigaraki clays. There was something about it that I really resonated with. So stumbled on to a local clay manufacturer here in California who made a clay similar to the clay from the Shigaraki region. Since that clay is no longer available, I have been sourcing my own wild clay from the Sierra Nevada mountains and working on my own blend in hopes to create a similar clay body.
Recently you visited Japan to collaborate with local potters there. Could you share with us a highlight or impression from this trip?
One of the highlights was from that trip was learning how to fire a Norborigama kiln under the direction of two master potters, Kato Hiroshige and Shingo Takeuchi for a four day firing in Seto. An incredible group of artists from Hong Kong, Japan, and the US also took part in the firing. Making it an incredible learning experience that I’ll never forget.
Your exhibition “A Silent Correspondence” is a joint show with artist Aona Hayashi. How was the experience, building up the collection and working with Aona?
Building the collection for this exhibition was a lot of fun for me. Drawing inspiration from Aona’s book, ‘Kuromono’ helped me understand her vision and practice. Her work resonated with me deeply on many levels. For me it was a pleasure to share this cohesive aesthetic with Aona.
Could you describe your working environment and whether you follow a routine for your creative days ?
My work environment is pretty special. Currently I work at my home in our large garage which I have transformed into my studio/gallery. Most of my vintage collection and inventory for my other business is displayed in my work space. So I am surrounded by incredible objects, sculpture, ceramics, and furniture. I’m constantly inspired by everything that is around me. I admit, sometimes it gets a little out of control but it’s not a bad problem to have. When I’m in the studio I don’t have much of a consistent routine. Most days I let the clay guide me. I’m very “In the moment” with my practice. Unless I’m creating a specific collection for an exhibition or a gallery, I like to work very free and loose. This allows me to create forms organically without too much thought. Sometimes my best work comes from this space.
You also run a business called 'Modern problem’ organising exhibitions and pop-up events introducing Japanese antiques in the States. I can imagine this would inspire your pottery practice but is it tricky to get the balance right? And as you focus more on your pottery, what are your goals for the future for your business or practice?
My other business, 'Modern Problem' is definitely a passion project. It’s gone through a lot of changes over the past 15+ years. Starting off as a vintage brick and mortar shop in Berkeley, CA selling iconic mid-century modern design and art. Now has moved to traveling to Japan and sourcing modern antiques and curating Japanese based exhibitions in gallery spaces here in California. It can be hard to wear two hats sometimes, but is also very inspiring and quite rewarding. Now that my ceramic practice is really gaining momentum, I’ve had to focus more on making rather than buying. But with everything there is an ebb and flow which allows me to bounce back and forth, which I like.
Lastly, please let me know if you have a message for our audience?
I hope everyone enjoys the exhibition. I think Yuka has done an incredible job bringing Aona and me together to create a very exciting show and I truly think our work really does complement each other in a very special way. This has really been an honour to be part of. Thank you all for your interest.
