"We can make our minds so like ll water that beings gather out us that they may see,

it may , their own images, and so live r a moment with a clearer, rhaps even with a fiercer life cause of our quiet." W.B. Yeats

make functional pottery in an effort to serve local culture in our modern ow-away society. My main goal is to pire other people to make their own ative work. Human beings have always rked with their hands. We are creators. e cannot survive by consuming only. We need both creativity and Nature to healthy and whole human beings. 8 0 Grant NCC McK Residenc 2 night y king and using handmade pottery is one y to bring Nature and culture together in man life. I intend my work to affect ople who use it the way the green untryside affects someone who normally es in the city: The fresh air & the green the trees and grasses restores the soul & reshes the spirit. If my work can do this, a small way, it is successful.

EDUCATION 2003 Established Kiln & pottery in Mashiko. Studying the cycles of Nature, farming, & their relationship to traditional pottery making 2000-03 Three year apprenticeship with Tatsuzo Shimaoka (National Living Treasure)in Mashiko, Japan 1998 April 2nd study trip to Japan. Attended MingeiSota opening, curated by Warren MacKenzie. Traveled to pottery centers & museums. Preparations to study in Mashiko. 1993 March Traveled to Japan to study in Zen temples at Shikoku & Kyushu. Also researched Japanese & Korean pottery. 1991-99 Resident Artist, Northern Clay Center 1991-98 Northern Clay Center & Continental Clay Workshops: Warren MacKenzie, Bob Brisco, Randy Johnston, Jan McKeachieJohnston, Matt Metz, Jeff Oestreich, Linda Christensen, Pete Pinnel, John Reeve, Linda Sikora, and Paul Soldner 1990-91 University of Minnesota, studied ceramics with Curt Hoard and Mark Pharis 1983-90 (99)Studied Soto Zen Buddhisim & meditation with Dainin Katagiri Roshi and Buddhist robes sewing with Tomoe Katagiri Sensei in Minneapolis, Minnesota. 1972-76 Central Michigan University, B.S.W.

ll of my work is made on a Korean kickwheel . I use Shigaraki clay, which is unglazed on the outside, and Mashiko clay and traditional Mashiko glazes and Shino. I also use Zogan inlay & Hakame slip.

PROFESSIONAL HONORS 2011 Guest Artist Mungyeong, Korea: Traditional Tea Bowl Festival 2010 Kansas City Clay Guild National Teabowl Show, Second Runner Up. 2009 Minnesota States Arts Board Artists Initiative Grant 1999 Jerome Travel-Study Grant. 1998 Asian-American Renaissance Jerome Foundation Career DevelopmentGrant For Emerging Asian American Artists. 1996 Northern Clay Center - Jerome Artist Shows in Tokyo, Minneapolis, Tacoma, Seattle and Mashiko.
I fire a modern, highly efficient woodkiln in Mashiko, using waste wood for fuel, which is friendly to the environment. I plan on developing parallel methods and materials in Minnesota. My longterm goal is to help create an

KilnOffering

Short Biography
I was born in Osaka Japan, lived in same neighborhood in Sakai that Tea Master Sen No Rikyu was from. I went to school in Michigan and moved to Minnesota to study with Dainin Katagiri Roshi. Moved to Mashiko, Japan in 1999, to do 3 year apprenticeship with National Living Treasure Tatsuzo Shimaoka. Warren MacKenzie introduced me To Shimaoka Sensei. I established my own kiln & pottery in Mashiko, Japan. My wife Jean Shannon is a woodblock printer & English teacher.

Lee_Love
3223 36th Ave South South Minneapolis, MN 55406 Phone: 612 326-4115 Email: togeika@gmail.com Webpage: New Work: Coming! pots Made in the USA: http://mingeisota.blogspot.com/ I stamp my pots with Li/Ri. It means plum tree. It is the pronunciation of my first name. It is also in honor of my favorite pottery: Korean Yi / Korean Chosen Pottery.

IK IRU KILN Lee Love

Ikiru is from the Kurosawa film of the same name and means: To Live! A Mashiko trained Potter in Minneapolis, Minnesota USA

MASHIKO

Lee Love