"Vessels that return to the earth" that combine Yanbaru soil and Okinawan wisdom. The primitive charm of Konno Nofuko's works draws people in.

The Oriental Hotel Okinawa Resort & Spa has been reborn as a space worthy of being the base for a journey to experience Yanbaru, and we welcome you as a comfortable hotel that offers a unique stay experience through a wide range of accommodation plans and a wide variety of activities that guests can select according to their various usage situations and needs.

Check out ORIENTAL HOTEL OKINAWA RESORT & SPA now!

A pair of vases are located on either side of the entrance to the club lounge on the lobby floor of the Oriental Hotel. They are particularly large and have an overwhelming presence among the works in this series entitled "Vessels that Return to the Earth". These vases are the work of Konno Nofuko, a potter in an area called "Yanbaru" in northern Okinawa. The beautifully smooth curves of the surface convey the inherent roughness of the soil and the temperature of the land. What is most distinctive about them is their color and texture. This unique texture is achieved by mixing the clay with pig's blood before firing.

Why did Konno decide to make "vessels that return to the earth"? Why does he use pig's blood? We spoke to him to find out his thoughts on creating such unique works.

• Table of Contents
• The answer that connects "return to the earth" and "usable in everyday life" is "blood"
• It all started with a huge pile of failed products. "Is there any way to recycle them?"
• Fired, crushed and refired again and again until it becomes tableware suitable for everyday use
• "Vessels that return to the earth" is still incomplete. What is the meaning of continuing?
• Encountering artworks that can only be created in Yanbaru will become a memorable part of your trip.

The answer that connects "return to the earth" and "usable in everyday life" is "blood"

Vessels that return to the earth

The title of the series, "Vessels that Return to Earth," is not a concept, but comes from the fact that the vessels can actually be returned to the earth. When the vessels have completed their role, they can be returned to nature. The secret lies in the temperature at which the clay is fired.

"This series is earthenware that is fired at a much lower temperature than regular pottery. Usually, pottery for daily use is fired at a high temperature to vitrify the clay. This results in a strong, leak-proof vessel, but once vitrified, it cannot be restored to its original state. In this series, we avoided vitrification and created earthenware that can be returned to earth even after firing."

Ordinary pottery is fired at high temperatures (over 1200°C), which causes a chemical reaction between the components in the clay and the glaze applied to the surface, vitrifying the clay. This causes the clay to shrink, resulting in a strong vessel. On the other hand, vessels that are fired at low temperatures (below 1000°C) and finished in a state that does not vitrify are called "earthenware." In other words, earthenware is inherently fragile and cannot store moisture, making it unsuitable for modern everyday use.

"I want to make vessels that can be returned to the earth. But not just objets d'art, I want them to be vessels that can be used in everyday life. These two desires are contradictory, so it's impossible to make them come true. But I kept thinking about whether there was a way to do it, and I finally came up with the idea of ​​using pig's blood."

In the past, Okinawans had a custom of raising pigs in their homes and slaughtering them for celebrations. It is said that "everything about the pig is edible except for its squeal," and dishes using not only the meat but also the bones, organs, and blood have been passed down to the present day.

One day, Konno learned that pig's blood was used for more than just food in the past. Apparently, the blood's water-repellent properties were used to waterproof boat bottoms and nets. Could this property also be applied to pottery? With this thought, Konno began his challenge.

Konno Nofuko

It all started with a huge pile of failed products. "Is there any way to recycle them?"

Konno is from Osaka Prefecture. After graduating from high school, he went on to study pottery at an art university in Okinawa. There, he saw a large amount of failed pottery being discarded. In other words, it was "garbage." At the university, the pottery waste generated by fourth-year students was piled up, and he was disgusted by the sight.

"If I continue making pottery, I will continue to throw away my failed works. Pottery cannot be recycled, so if I throw it away, it becomes industrial waste. I wonder how much garbage I will produce before I die. When I thought about this, I couldn't help but wonder if there was some way to recycle it."

After graduating from university, Konno stayed on as a trainee for a year. During that time, he was introduced to a friend and decided to build a new kiln in Yanbaru, in the north of Okinawa. As soon as the wood-fired kiln was completed, he moved his base to Yanbaru and started working on pottery. The geology of Okinawa Island varies depending on the area. The southern part is made up of soft, brittle soil, while the northern part is made up of strong, heat-resistant soil, making it the perfect place for pottery.

Konno's works, made using Yanbaru soil and Okinawan materials, have become popular for their unique colors and textures, and he is living a fulfilling life as an artist. However, he always had the desire to "make pottery that returns to the earth." While living in Yanbaru, he came into contact with various people and listened to information, and finally found the answer: "blood."

A studio in Yanbaru, surrounded by nature

Clay layers in northern Okinawa that are suitable for pottery

Konno's works are popular for their unique colors and textures.

Fired, crushed and refired again and again until it becomes tableware suitable for everyday use

"I will never forget the first time I mixed blood into clay. It transformed into a mysterious object, completely different from the clay I had been familiar with. It's hard to put into words, but I knew from the feel that I could do it!"

When he started making "vessels that return to the earth," the world had just entered the COVID-19 pandemic. Looking back, he says it was the perfect timing to stay in his studio and do research. In order to return to the earth, the pieces must be fired at low temperatures to prevent vitrification. But how low should the temperature be? He sometimes wondered if it would be better not to fire them at all. The lower the temperature, the more brittle the finished product becomes. But that would make it unpractical.

"Earthenware naturally allows water to permeate through. Also, if the piece is meant only to be displayed, that level of strength is not required. I wondered if it would be possible to evolve earthenware into a new type of pottery that is strong and does not leak water, so that it can be used properly in modern life. For those who know about pottery, this is a dream come true."

It took many days of trial and error to create a piece that he was satisfied with. He adjusted the temperature many times while firing, and if it didn't turn out well, he crushed it, ground it in a wooden mortar, and turned it back into clay. He repeated this process endlessly. Sometimes he even crushed and refired a piece that had been exhibited once and returned. Unvitrified pottery can be refired in this way as many times as he likes.

Kneading the clay

Trial and error with low-temperature baking

Crush and reuse the vessels

Vessels that return to the earth

"Vessels that return to the earth" is still incomplete. What is the meaning of continuing?

"I don't think this series is complete yet. Or rather, no one knows what it means to be complete. For example, burning blood. Even blood experts have never burned blood. Because it is an animal protein, the color changes when exposed to ultraviolet light, and it becomes thinner with use. I intend to keep improving it, finding ways to make the protein stronger."

There is another difficulty in making "vessels that return to the earth." That is, they can only be made during the cold winter months. Blood is a fresh material and cannot be handled in the heat of Okinawa's summers. In recent years, it has also become difficult to obtain pig's blood even within Okinawa Prefecture. The schedule and procedures for production are greatly affected depending on when the raw blood can be obtained. In short, it is not as straightforward as one might expect. But why does Konno want to continue making these works?

"If you decide it's impossible, you'll never move forward. But if you just keep going, you'll eventually find a clue to a solution. If as many people as possible see it, and if someone shows an interest, it will increase your chances of getting information."

Konno also spoke about his thoughts on the culture of Okinawa, where he is based.

"Compared to the old days in Okinawa, pig blood is rarely used in food and daily life. Even people who were born and raised in Okinawa apparently have never eaten a dish made with blood. If things continue as they are, this culture may one day disappear. I believe that by having 'Utensils that Return to the Earth', we may be able to provide a way for modern people to come into contact with Okinawan culture, however small the contribution may be."

Encountering works that can only be created in Yanbaru will become a memorable memory of your trip.

">

"Vessels that return to the earth" on display in the elevator halls on each floor

At the Oriental Hotel, "vessels that return to the earth" are on display at the entrance to the club lounge, inside the lounge, and from spring 2024, in the elevator halls on each floor. It is hoped that by seeing these works, visitors will become at least a little interested in Konno's idea of ​​"circulating production." The hotel selected the works with this hope in mind. And more than anything, all of the staff are fascinated by the overwhelming presence of these "vessels that return to the earth."

"The Oriental Hotel treasures the culture of Yanbaru throughout the hotel, including the facilities and furnishings. When I heard about the concept, I felt it matched the theme of my work very well. I feel it means a lot to me that it is being used in this hotel," Konno said, and continued, "'Vessels Returned to the Earth' is a work that I was only able to arrive at because I was in Okinawa. If I had been active outside the prefecture, I would never have come across information about pig's blood, and even if I had, I wouldn't have been able to obtain the blood. Whenever I create something, I want to create something that can only be made here in Okinawa."

The soil of Yanbaru, the energy of life, the wisdom and breath of the people of Okinawa that have been passed down since ancient times... We hope that your stay at our hotel will be a special memory, surrounded by artworks that allow you to experience a culture that can only be experienced here.

Konno Fuko

Born in 1983 in Osaka Prefecture. He attended a pottery experience as part of a high school event, and was impressed by the simple phenomenon of turning clay into a vessel by firing it, which sparked his interest in pottery. When he consulted his teacher during career guidance that he wanted to do pottery, he was advised that "Konno, you should leave Kansai and go to somewhere like Okinawa," which prompted him to go to Okinawa University of Arts. In 2008, he moved to "Yanbaru" in the north of Okinawa and began making pottery. He continues to create works using Okinawan materials such as Ryukyu indigo, using Yanbaru soil as the raw material. He has created many series to date, and each time he creates a new style, attracting attention. His representative series include one themed on Ryukyu indigo known as "Konno Blue," and one using coral with a white base.

Konno Nofuko Instagram