Facing the Clay, Facing Myself – Interview with Asami Maeda of Jiucasca

Interview & Text: Masatoshi Yokoyama, Owner of KOTOPOTTER

At the foot of Mount Hiei in a quiet Kyoto townhouse, ceramic artist Asami Maeda pours her heart into every piece. Having walked the paths of fine art, philosophy, and now traditional pottery, she shares with us the origins of her craft and her daily life.

• 1988: Born in Tokyo, Japan
• 2006: Completed Foundation Course, Department of Fine Arts, Musashino Art Academy
• 2011: Bachelor’s in Philosophy, College of Literature, Kokugakuin University
• 2013: Master’s in Philosophy, Graduate School of Letters, Kyoto University
• 2013: Studied traditional pottery techniques in Kyoto
• 2017: Established her own studio in Kyoto

From Painting and Philosophy to Pottery

— Can you tell us about your background?
I originally pursued sculpture at Musashino Art Academy, learning basics like drawing and oil painting for about a year, but it didn’t quite resonate with me.

So I went on to study philosophy—especially ancient Greek thinkers like Plato and Aristotle—for six years through graduate school. After finishing my master’s, I faced a choice: continue in academic research or return to my interest in sculpture. I chose pottery and moved to Kyoto to learn the craft, ultimately going independent in 2017.

— Do you feel your study of philosophy informs your pottery?
Absolutely. Philosophy hones logical thinking, which is surprisingly scientific—understanding clay bodies, glazes, and firing processes requires a systematic, reasoned approach.

The Impulse to Shape with Hands and the Ceramic as a Tool

— What drew you to pottery?
I love the direct action of shaping with my hands—similar to sculpture, but clay responds even more instantly. Art can feel too theoretical once it’s just words on a wall; in pottery, there’s the maker, the user, and the food—each has a role, and that relationship is what I find compelling.

— What do you keep in mind when creating?
I believe pottery should support the food. It shouldn’t overpower the dish but harmonize with it. That’s why my designs stay understated, often in calm, muted tones.

Living by Clay’s Own Rhythm

— What does your working schedule look like?
With a child at home, I usually work from morning until around 4 PM. But pottery follows the clay’s schedule—drying times, trimming moments, all dictated by the material. If you rush, pieces crack or warp, so you must always be in tune with the clay.

Shapes Inspired by Antiques and Nature

— Your work often features botanical and antique motifs. Why?
I draw inspiration from finds at antique markets and shops, and from plants I spot on walks. English antiques, in particular, are rich with floral patterns. People love plants—they feed us and art itself began as an imitation of nature.

Beyond East and West: Ceramics for Everyone’s Hands

— Your style blends Japanese and Western elements. Can you tell us more?
I’m inspired by the soft blue-and-white of old Imari ware as much as by European design. By letting East and West influence each other, I aim to create ceramics that feel both familiar and fresh.

— What’s next for you?
I want to share my work more widely. Having trained in Kyoto’s historic pottery region, I believe that success returns value to the community. With a small team now helping out, I can focus on quality and reach more people.

What It Means to Confront the Clay

— Any message for those aspiring to pottery?
I’m still learning myself, but I know dedication matters—you’ll sacrifice sleep to practice. But when you’re truly interested, that effort becomes a joy. Stay curious and committed to what fascinates you.

— Finally, what would you tell someone using your ceramics?
Many ask, “How should I use this piece?” My advice: break free from conventions. Arrange your food freely—your personal touch is the most beautiful.