Jan Pávek, similar to me, found to tea before he found to pottery. Growing up in Czech Republic, a country with its unique tea culture and ceramics scene, Jan decided early - despite dissuasions - to go for the pinnacle of Japanese wood-firing: the Anagama kiln.

His approach to firing unglazed pieces for several days by burning a lot of wood creates unmistakable results. Guided by his own aesthetical views and supported by his engineering background, he is able to differentiate himself with an ever-evolving unique and distinctive style.

Jan's works can evoke a multitude of associations. Every piece at its core is like a landscape. Depending on the underlying clay we can find a multitude of surface textures and shades in every single piece, from earthy tones to red flashings, from green moss to blue grey Craquele.

Jan Pávek himself is practitioner and student of Chado in the tradition of the lesser known Ueda Sūko Ryū, a warrior tea school originating in Hiroshima, Japan. So more and more of his work is informed by this experience. Once again the practice precedes and feeds the process of the creation of the utensils.

From Wild clay to porcelain

Being a wood-firing artist, Jan is putting a lot of effort in finding the right clays for his creations. On the one hand there is the persistent heat of the Anagama - the pieces have to endure several days at >1300°C - which most clays are just not made for. On the other hand there is the strong impact of the clay on the final result: the color rendering, texture as well as vitrification level of the natural glaze, which is formed purely by ash deposits. Over time Jan realised that he wanted to have control over the whole process. Hence he is continuously experimenting with new local clays as well as with porcelains in order to achieve new and desired results. His recent firing was dedicated purely to porcelain.

Jan Pávek, short BIO:

1988: born in Czech Republic
2012: Started making tea pottery
2016: Built his own Anagama kiln and researched clays and firing
Currently living and creating in a small village in Central Bohemia

Hands and clay

I dig clay from the Earth. From the Earth, where it rests countless years. It is a part of the nature around us. I mix it with water and other materials to achieve the best qualities. I transform this raw clay to the soft clay that is a joy to hold in hands.

Wood and fire

The fire is another natural element. In my anagama kiln the fire brings the pots to life and the ash from burning wood falls and melts on the pots and creates natural wild glaze. This magical process takes several days.

Tea and love

There is a lot of work with each pot after the firing such as grinding and cleaning. After that it is not the end. It is begining. The begining of pot´s life. Now it is ready for brewing tea for you, your friends or your loved ones. It is ready to share love for tea.

(text by Jan Pávek)

Anagama

An anagama is a one-chamber kiln resembling a tunnel with a fire-shaped cross-section. The firebox is in direct contact with the pottery. Thanks to a constant adding of fire wood the temperature rises and plenty of ash is created. The ash then deposits on the pieces, melts there and forms a natural glaze. Anagama firings take usually a several days, several days of continuuos stoking of wood. The final appearance of the pieces is unmistakeable and it can be influenced by the position of the pottery in the kiln, firewood used and the way of firing.

Our exhibition collection contains various teapots, pitchers, cups, bowls, jars as well as Shiboridashi and Gaiwan. The collection is complemented by several Chado items: Mizusashi, Kensui, Futa-Oki, Chawan etc. Most work is glazed inside. Those teapots which are unglazed will be most suitable for oolongs and puerh teas. If you have any question about this collection please do not hestitate to contact us.

Follow Jan on Instagram: @janpavekpottery

Some more impressions from Jan’s Studio. All photos by the artist and Marcel Karcher.