This short film documents the making of a wheel-thrown chattered pottery vessel and its completion through gold Kintsugi repair. Formed in clay, broken, and carefully restored with gold, the vessel reflects the Japanese understanding that time, damage, and repair are part of an object’s life. In Kintsugi, the repair is not concealed. It is respected. This work was created in 2024 as a presidential White House-commissioned gift for Japan's PM, with deep appreciation for the philosophy, restraint, and continuity embodied in Kintsugi practice.
Kind of weird to see America gifting a vase made with Japanese techniques by a non-Japanese person to the head of Japan. I wonder how they felt about it.
I had the same reaction when the Biden State Department placed the order, first in 2021 and again in 2024 for a different Prime Minister. The explanation was the same both times. The piece was meant to serve two purposes. First, it expressed appreciation for Japanese culture and for the Kintsugi metaphor, the idea that breakage can become an opportunity to create something more meaningful than before. That philosophy has influenced many people in the United States and has become a widely used healing metaphor and a form of self-improvement, a genuine contribution of Japanese culture.
Second, the work was intended to suggest that the strained relationship between Japan and the United States could follow that same metaphor of repair and renewal, at a time when decency was a thing.
I was initially hesitant and chose not to argue too hard. In the end, I was honored to be invited to witness the White House welcoming ceremony for the Prime Minister and his spouse, and to be part of that moment through my work. I did not receive any further feedback.
This sentiment of Kintsugi fills me with hope for things right now. Thanks for sharing!
I think the metaphor works really well to a point. But the intentional breaking of a piece to then use kintsugi to mend it again feels a bit hollow. And i think the metaphor suffers there. But maybe it’s also not that deep :D
I see the intentional breaking as happening in previous generations/administrations. I think it’s actually helpful to acknowledge that the relationship didn’t just deteriorate on its own over time, we fuckin broke it. But there can still be an effort to understand the damage and how to repair, while making it more beautiful and valuable than before. At least that’s how I interpreted it.
Crazy! Thanks for the response. How did you feel making it? I imagine it must have been stressful knowing it was a piece meant to symbolize mending the relationship between two whole countries all in the hands of a potter.
Thank you. For me, it felt less like representing two countries and more like doing what I have always done in the studio. I have been working in clay and teaching it for decades. I am almost 70 and have made thousands of vessels and many Kintsugi projects of all methods, so this one, technically, was not an achievement of any special kind. Once the work begins, the noise falls away and it becomes about clay, balance, timing, and attention. The symbolism was there, of course, but I did not carry it as pressure. I focused on making an honest vessel and letting the Kintsugi metaphor speak quietly on its own.
The most valuable moment came afterward, when one of my kids, who joined me at the White House for the welcoming ceremony, turned to me and said, “I’m proud of you, Dad.” That stopped me in my tracks. After a lifetime of working quietly with my hands, often unseen and unquestioned, hearing that from my child in that moment carried a weight no ceremony or recognition ever could.
What has been more stressful for me are some of the reactions here. I expected the conversation, in a pottery community, to center on process and material, questions like how the chatter was made, where the gold powder came from, or why certain technical choices were made. Instead, some comments focused on whether a piece should be intentionally broken, or whether it “counts” if Urushi is not used, even though we work in both approaches. I am always happy to talk about technique and craft; that is where these conversations feel most meaningful to me, rather than take the hit about government inefficiencies.
So thank you for your question. It brought the conversation back to a place where I can really share.
I want to know how the chatter was made.
Here is a tutorial about it on our website: https://www.lakesidepottery.com/HTML%20Text/Tips/Potters-wheel-surface-texture-tricks.htm
Just want to say I think this is absolutely beautiful. There’s something in the current American zeitgeist that is chasing authenticity to the detriment of artistic expression, and I’m sad to see you be a victim of that when working on a commission.
How do you maintain the chatter when shaping it? Do you create an interior to exterior moisture gradient (e.g. hair dryer) before shaping?
Thank you!
I always start with a cylinder. Beginning from a stable, symmetrical form gives me predictable wall thickness and control before any expansion begins.
I start with a slightly stiffer clay and plan the wall thickness in advance, leaving more material in the areas where I know expansion from the inside will be needed. The interior surface is always kept well lubricated with water to prevent friction. As I push the wall from the inside, I deliberately use the smallest possible finger contact area. Reducing finger surface contact minimizes drag and allows the clay to move outward rather than grabbing, tearing, or twisting.
Because trimming is limited if the chatter surface is to be protected, the foot width is largely predetermined by the form itself. This makes the pot more vulnerable under normal working conditions. Pushing only from the inside or introducing a twist is therefore inherently risky. Understanding those limits is not theoretical it comes only through repetition, failure, and experience.
In some cases, I intentionally introduce a twist. To do this, I remove all water from the interior and allow the inside surface to dry slightly, creating friction. That friction can generate a controlled twist as the wall is pushed outward. This is usually introduced earlier in the process, when the clay is more stable, after the chatter effect has been established. See example (14 inches wide).
With larger forms, as the wall is expanded into a more bountiful shape, the vessel can collapse seconds after completion if the clay remains too soft or if the expansion relies heavily on force from the inside. For that reason, I always keep a torch nearby to lightly stiffen the exterior surface after the final expansion is complete. This quick skin stiffening helps the form hold without disturbing the chatter.
Timing is critical. If a torch is used too early, before full expansion has occurred, any subsequent outward movement will crack the chatter ribs. Once those ribs fracture, the surface cannot be recovered.
Important note: Because of the amount of water used during expansion, it is essential to remove excess water before finishing. After the form is complete, I flip the vessel upside down to drain any trapped water before running a wire or using a sponge.
https://preview.redd.it/soq604353t8g1.jpeg?width=547&format=pjpg&auto=webp&s=52555736d92ae7e8e167f1a2c8377780aef212e9
Thank you for such a detailed explanation!! It looks cool and I imagine I could spend several dozen hours of attempts before I reach a baseline.
On a different note, have you ever considered carving and backfilling for kintsugi compared to breaking? I realize that’s an even further departure from the tradition than intentional breaking, but I wonder if it would work well or just look “off.”
Carving does not work from a commercial standpoint and deviates too far from the meaning of Kintsugi, which is why it has never been requested. In the past, a few clients did ask for very specific break patterns that could not be achieved through organic breakage. In those cases, the desired break lines were marked in advance and then cut to match the required pattern. Both instances were for television commercials.
Ok that’s actually beautiful. My initial cynical thought was they made a caricature of the art of restoring an object through intentional craftsmanship. It goes even deeper if you consider who broke the pot on purpose in the first place just for performative restoration. My single remaining brain cell isn’t up for that today.
From my understanding, Japanese culture doesn’t have the same dialogue around appropriation that we do in the States. Japanese subcultures borrow from many facets of various outside cultures, which is seen as normal there. I’ve see people online saying that “appropriation” as an American might understand it doesn’t really even exist in Japan. But that’s only from seeing online discourse so I’m sure it’s much more nuanced than that!
This is a gorgeous piece, OP. I like the administration’s explanation of repair over time between our countries.
I have had friends from the US go to Japan to teach ceramics. My understanding from them is that there is very much a mutual respect for Western ceramics and even an enthusiasm for flashy copper Raku that branched off from Japanese Raku techniques.
It's not like it's some sort of closed practice. It's literally just ceramics 🤦🏽
But that's the point, it's a diplomatic gift. It's meant to show a connection between two countries.
I do think it would've been cool if the Biden admin found an already broken antique piece in some museum's storage to use instead. OP's work is lovely though of course!
Also kind of weird to intentionally break something to then repair it. That just isn't what the whole thing is about and misses the point of mottainai and why kintsugi became a craft in the first place. Really an odd decision by the administration to give such a gift.
I also think using yobitsugi would have been a more meaningful repair process in the case of foreign relations. That's when you take the broken pieces from two different objects to make one usable object again.
Or at the very least save some broken dinnerware from the White House to then use kintsugi to repair as a gesture of showing we can learn something from them to make ourselves better.
Just feels like no actual thought was put into it.
Of course not this White House - this was in 2024. Thank you!
Who made the pot?
I made the pot and carried out the gold Kintsugi repair under a two week deadline. One of the requirements was a rich tactile surface. Chattering on wet clay proved to be the most organic way to achieve the requested wabi sabi feel.
Very cool story! Thank you for sharing it here!
I’ve googled richl tactile surface and I’m not getting much. Can you explain?
Sorry, it was a typo that’s now corrected. The intended word is “rich”
Thank you, always wanting to learn new things. You’re an amazing artist
Cannot be this White House. They are devoid of class. And this is gorgeous
Of course not this White House - this was in 2024. Thank you!
I really respect the work by Lakeside Pottery but as a note for anyone perusing this thread trying to learn about kintsugi, this was not a traditional repair and traditional repairs take at least a month to complete, usually longer.
Non-traditional work can be absolutely beautiful and work really well on non-functional pieces like this vase. But I encourage you to go to r/kintsugi to learn about the vast world of this repair technique.
You’re absolutely right that traditional urushi Kintsugi typically takes a few months and often much longer. In this case, the timeline included making the pot, bisque firing, glaze firing, and the Kintsugi process itself, which made that approach impossible. With a two-week lead time, a fully traditional process, which I initially proposed at roughly three months, was simply not doable.
Your work is beautiful. It does make me wonder why if the White House is giving it. Why didn’t they a lot you the proper amount of time to do it the traditional way. Obviously you don’t have an answer to that. I just think it’s kind of strange they would’ve known they were having the Prime Minister come over why not leave you plenty of time to do it “right”. Again your work is beautiful and that cobalt color is really beautiful with that gold.
Thank you! Just did a search, and the lead time for both Japanese Prime Minister visits was limited. The 2021 visit was publicly signaled in mid March for an April 16 meeting, roughly five weeks of notice. The 2024 visit was announced on January 25 for an April 10 meeting, about ten to eleven weeks of notice.
Even if I had been notified immediately, neither timeline would have allowed for a fully traditional urushi Kintsugi process, which typically requires several months due to material curing and sequencing. I proposed a traditional approach with a much longer timeline, but it was not compatible with the fixed schedules.
Seems like it’s not quite the kintsugi philosophy to purposely break something then fix it.
That’s a fair point. It was discussed in depth with the State Department point of contact. This commission had specific requirements, including that the vessel be designed and made by an American potter, and that the Kintsugi process be clearly and intentionally expressed.
In our practice, about half of our Kintsugi work involves pieces that arrive accidentally broken, often with deep personal history. The other half begins with intentional breakage, an approach I initially struggled with because it felt at odds with traditional Kintsugi.
Over time, I came to see intentional breaking not as destruction, but as an expansion of the metaphor. For people without a naturally broken vessel, an intentionally broken one may be the only meaningful way to engage Kintsugi for healing, reflection, or ceremony.
They heard "if it ain't broke don't fix it" and said alright bet Or another saying that makes me think kintsugi "when life gives you lemons make lemonade" well they didn't get any lemons but they still wanted lemonade
There is something very American about that
Traditional work is wonderful, and there is room for both approaches - we offer both. Given your comment, I assume you do not have a digital camera and are still using film, and that you are still riding your horse to work
Not sure what this has to do with being a Luddite. This is more like buying pre ripped jeans
I used to make commission pots for a local “wellne$$ center” that would break and kintsugi back together as one of the therapy activities.
The cynic in me want so point out that one could argue that is the American philosophy, however.
Yeah, I wonder about this the type of mimicry that I am not sure is self-aware enough to see its irony. Although, if the subtext was deliberate, that’s a pretty apt messaging.
Awesome, thank you for sharing. Also can you let me know what song this is please it’s really nixe
Washington Square by The Village Stompers
The final product is beautiful :) you did a great job within a very short time period
Beautiful work!! Is the material to ‘glue’ the pieces back together not entirely gold? Can you share a bit more about the process? I’d love to hear more about it!
Kintsugi is a process made up of several steps, often described as seven, though it can vary. It begins by mending the broken pieces to bring the vessel back to its original form. Gaps and cracks are then filled, and the surface is smoothed so the repair lines are clear and intentional. Lacquer is applied over the repair lines so they can receive the gold, followed by the application of gold powder. After curing, the gold is burnished to give it depth, shine, and a lasting finish.
So it’s not just the idea of putting pieces together with gold, it’s actually a specific method and steps with specific materials throughout?
The song is called Washington Square by The Village Stompers, for anyone curious (my favourite version is from the Ames Brothers though).
Beautiful piece
This is very American in a way that feels off putting for me. I appreciate the work that went into this but the sentiment, the approach, and the look of the final piece just rings hollow for me. I'm American, for context.
broken on purpose to add cosmetic gold "repairs" is kinda against the point of kintsugi, isn't it? not to mention the rest.... fake and insulting to the very concept, tradition, and art. and i'm not even a weeb.
this is real bald headed behavior
Thanks for sharing! Would you describe your process? When I've done (amateur) kintsugi I have used epoxy mixed with a gold colored mica powder but I see you are painting/brushing over the glue.
there’s an artist on instagram @chimahaga who shows his traditional process beautifully ✨think you’d appreciate it.
Kintsugi is so beautiful and I love thinking about why my unconscious brain likes it, I love to take cracked wood and epoxy the voids, it is reminiscent of Kintsugi in its own way
Beautiful!
Beautiful work. I also appreciate your generosity in sharing your process and answering questions about it and your honesty when talking about the piece's context. Nowadays people seem to not share as much and it's refreshing to see, as well as instructive.
I think the weirdness comes from the intentional breaking of the pot for the repairs. I thought the whole point of Kintsugi was to highlight the use and history of the piece through the repairs, not just selectively smash it fresh from the throwing wheel
Please refer to my previous reply in this comment chain.
I am a ceramic artist, and my role is to make work to the best of my ability in response to a client’s request. In this case, the specifics of custom vessel, and the intentional breakage was explicitly requested and approved by the client.
If you have technical questions about pottery or Kintsugi such as clay body, forming, firing, surface treatment, adhesives, or gold application, I am glad to answer and engage.
If your concern is about the client’s preference or the symbolism of the commission, that decision was not mine. You are welcome to direct those questions to the U.S. State Department, who commissioned the work.
Merry Christmas!
I feel like this gift was a total insult.
gorgeous work!
can you tell me what materials were used for the repair itself? did you need to fire it again or simply clamp? i have several broken vases i'd like to kintsugi, but a search for the materials turns up empty.
Amazon carries kinsugi kits.
https://www.amazon.com/s?k=kintsugi+repair+kit+gold
Skipped over "kintsugi" and thought op dropped it 😭