• September 7, 2018

    Introducing Tetsuya Ozawa

    Funny story about Tetsuya Ozawa's first shipment to us. It sold out within days of receiving it. We never even had a chance to post it to the website, or share our interview with him here on the journal. This week we received a new shipment of Ozawa-san's beautiful work, so it's the perfect time to share John's interview with him.


    6 Questions for TETSUYA OZAWA


    ( J = JOHN’s Questions / T = TETSUYA’s Answers, translated by Reiko )



    J : Please give us some insight about who you are, you are based in Tajimi city? 


    T :   My name is Tetsuya Ozawa.

    I was born in Tajimi City, Gifu Prefecture in 1984. 

    Graduated from Nagoya University of the Arts in 2008.

    Then I have studied and was being an apprentice under the ceramicist Mr. Masamichi Yoshikawa at

    Tokoname-shi, Aichi prefecture. I started up my own practice in 2016.

    Currently I’m based in Tokoname (*1) , Aichi prefecture.


    (*1 = Tokoname City =

    Tokoname Ware = )



    J : What motivates you to make pottery? Did you try to do anything else on your way to becoming a potter? 


    T : In my hometown Tajimi City, Ceramics are part of our life and there were so many
    opportunities to touch clays since I was very young.

    Since I realized I would like to be a creator, I think it was natural to start thinking and aiming to be

    “Ceramist” as a choice. I decided to be a Ceramist when I was in junior high school, and since then I continue

    to pursue studying ceramics in high school, university, and apprenticeship under the ceramicist Mr. Yoshikawa.


    J : Are there specific forms, history our cultures that inspire your work? 


    T : I am heavily influenced by tea culture, folk arts, modern craftwork. 


    I mainly used to make objects and sculpture before, but I started to become attracted by the way ceramics has

    been used for people’s daily life. I decided to start to make Ceramics for people and people’s life.


    Currently I am interested in how to use the technique of material layering of abstract paintings such as

    the way Mark Rothko did (*2).


    (*2 = Mark Rothko = )


    I try to produce my ceramics with awareness of what is at my feet and what is surrounding myself.

    Like making a little tea pot to the ancient big pottery style from my local Tokoname village.


    J : The surface of your ceramics is very unique. I believe it is white slip over clay? The texture is very beautiful, how did you come to use this to finish your pieces?


    T : I use old technique called “KOFUKI ( = dusting )”.

    I put white soil on the clay which contains a lot of iron, like putting on "make-up”.

    It is a distinctive technique that creates a soft texture on the surface.

    It does make a totally different texture compared with the regular white porcelains.


    When I started to do experiments, I only put one layer on the surface. I was still wondering if

    I could create more complicated textures, like something with dirtiness and some roughness.

    Then the paper container that I bought from an antique store caught my eyes.


    I noticed I could see various colors and expressions on one bowl...such as paper wrinkles,

    dirts stuck by being used, deterioration of paints, some brushstrokes to give strength for the substrate of surface etc.

    Then I started to create my current style which is putting soil overlap and scraping off repeatedly.

    This is the catalyst for when I started to apply it to my own work.


    J : Is there something special about your process? Or the clay / glazing you use?  


    T : I originally like mat finish with complex expressions without glaze.

    However, experimentally I was looking for something where I could put a delicate gloss like lacquer finish,

    I found “Chara" lacquer which is used for Tokoname teapot.


    “Chara" lacquer was developed for the mass production of Tokoname teapots.

    It is a very unique glaze, It gives a subtle gloss on vessels.


    I think the unique and traditional technique of Tokoname-yaki helps me to create my own style. 

    All different kind of techniques that has been cultivated since ancient times, such as how to make big objects, 

    how to make teapots, and how to bake them.



    J : Besides pottery, what do you enjoy? reading? film? music?


    T : I like playing the guitar.

    Let’s say… I like African American music as the genre of music, especially Pop songs derived from them.

    And like… Jazz, Hip Hop, R&B and especially I like artists in my generation. They inspire and stimulate

    me a lot. I’m listening to them when I'm working in studio.



    J : Thank you very much!



    Shop Tetsuya Ozawa at Mjölk





  • August 27, 2018

    Norihiko Terayama Exhibition: Things that were arranged

    For years people have admired Norihiko Terayama's large scale flower artwork in our showroom. It was time for another visit from Norihiko and this time he brought with him some versions of this artwork to sell in his second solo exhibition at Mjölk. Unfortunately we are nervous to ship these pieces outside of Toronto, due to their fragility but there are some smaller pieces available here.


    Along with the framed works, there were flower interventions on found objects and antiques.


    Antique wooden bucket with floating flowers.


    Lidded urushi bowl with floating flowers (one left).


    Antique Lacquerware container with floating flowers.


    We had three flower rulers available as well. Turns out Norihiko has a few more back in Japan that he will send us. Please email us if you are interested. 


    Most of the Polygons sold at the event. There are a few beauties left. 


    Crust of Polygon, Object 1


    Crust of Polygon, Object 2


    Crust of Polygon, Object 3


    The opening reception was a lovely evening. It's always so heartwarming how engaged everyone is.


    Norihiko Terayama at Mjölk.

  • July 18, 2018

    Introducing FRAMA

    We've been admirers of FRAMA since we had the Anderssen & Voll Garden Works launch party at Kollected by in Oslo several years ago. Shop owners and stylists stylists Kråkvik & D'Orazio have been long time supporters of FRAMA.


    We then visited the Frama showroom for the first time in Copenhagen, and were further amazed with their poetic blend of rational industrial design and craft. Their work conjures for us images of black and white photographs of old French ateliers, studios furnished with functional and strong furniture yet visually delicate and slender. Industrial yet at the same time softened with natural materials like oak and leather. 

    We hope you will enjoy these pieces as much as we do.


    Triangolo Chair
    Design by Architect Per Holland Bastrup, 1989. Signature Collection.
    Even though the Triangolo chair was created several decades ago it goes hand in hand with the Frama principles of strong geometric forms and simple lines. 


    Circle Mirror and Adam stool in oak.
    Occasionally we see a form that speaks on its own. The round mirrors are an example of just this. A classic round mirror with beveled edges mounted to a solid oak back. Visible screws celebrate the analogue approach to this 50's inspired piece. The visual purity of the round shape is honoured by its material composition. 


    Rivet Box Table and Rivet Round Side Table

    Aluminium can be difficult to weld and screw. With that in mind a riveting/tenon technique was developed for the Rivet project. This was also a way to experiment with different variations of visual assembling. The straightforward design is laser cut and hammered by hand, which puts it in a category between craftsmanship and industrial production.



    Frama St. Pauls Collection of Apothecary
    includes handwash, hand lotion and scents.

    Apothecary is made locally in Denmark. Notes of Sandalwood, Cedar Wood, and Ylang Ylang.
     The Apothecary collection is produced with 100% natural ingredients and in Italian glass bottles.


    The Adam Stool collection is inspired by industrial design, an artist's studio, and a workshop. The functionality and simplicity of the design, combined with strong materials, gives these stools a structural and utilitarian approach. 


    Sutoa means to contain in Japanese.

    Sutoa drawer fulfills the aesthetic look of a storage chest. 
    It is based on a discreet steel frame combined with wooden stack-able drawers in massive oak. Boxes of different sizes serves various purposes to contain. The gap between the boxes becomes the handle and small wheels at the back is very useful to change the placement of Sutoa. 

    Also pictured is the Frama shallow shelf.


    Sintra Table
    Designed by Nicholai Wiig-Hansen

    Suitable as a coffee table or side table where the contrast between the soft warm cork, meets the cold smooth marble. The distinction between the two shapes gives the impression of two worlds meeting one another. 


    FRAMA at Kollected by in Oslo, 2016


    Pictured: Sintra tables, Shallow Shelf, and 9,5° chair.


    Pictured: Shallow Shelf, Adam Stool and Trestle Table







  • July 18, 2018

    New De La Espada in the Showroom

    We just received some stunning new pieces from De La Espada. They are so new they aren't yet on our website, so we thought we'd give you a quick preview here. Click here to see more available items from this collections.


    Belle Reeve Sofa by Nichetto Studio, starting from $17,795


    Check out the lattice woodwork and elegant brass legs.


    Also pitcured: the Neri & Hu Commune bench which is being used as a coffee table.


    Handle Side Table by Neri & Hu, brass and white oiled oak, $1600
    Also pictured: Cyclades vase by Nick Ross, $140


    Solo Desk (starting from $5995) and Chair in Danish oiled walnut, both by Neri & Hu. 


    Antique Korean moon jar in the background, $3975


    Elliot Dining Chair (starting from $1595) by Jason Miller and Solo Dining Table by Neri & Hu. 


    Woodworking through-tenon detail with wedge


    Raf Simons Ria woven fabric



    Composition of Elliot chair and Solo dining table.