CHICAGO PIPE SHOW - May 2006

THE IMAGINATIVE EVOLUTION OF HIROYUKI TOKOTOMI
Exhibit Page 8

CHICAGO 2006

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... Teddy and Tokutomi
Sharing the joys of playful improvisation (concluded)

"Lamplighter"

I’ve only recently noticed similarities of line between this pipe (carved early in 2005) and Toku’s "Gondola" (a pipe Teddy admired greatly when he saw it in the spring of 2004). I’m also sure that the bowl-shape resonates with forms Teddy has had in his mind (and under his fingers) for many years. But would Teddy’s imagination have responded in quite the same way to the extraordinarily graceful curve of the bone and pictured the beautiful freeform shape at its tip … had not Toku’s work been stirring up a "creative buzz" in his sensibilities?


Left:  Tokutomi, Gondola  (2004).


"Alien" (2004)

This pipe's shape proved to be extremely important for Teddy’s recent work. It marked one of the first manifestations of a new wave of creativity that has been flowing through his briar carving during the past two years.  Called "Alien" because it seemed different from anything Teddy had made previously, the pipe opened the way for future exploration of the "peapod" form ... eventually and leading to a range of wonderfully-graceful, beautifully-wrought "aquatic" shapes, like the "Seal" and the "Whale."

Teddy carved "Alien" after admiring Toku’s "Gondola" and elephant’s foot.


Top:  Tokutomi, Gondola (2004)


"Starweeper" and "Moby Dick" (both 2005)

Teddy continues to play with the "Seal" design, moving into some beautiful and fascinating variations.


Top/down:  Moby Dick and Starweeper

Moby Dick [top/right, not pictured in show photographs] mixes themes found in some of Teddy’s fluted, rectangular horns with the Seal’s fluidity and jauntiness. (The pipe also provides a superb smoke.)

A most innovative and engaging shape, Starweeper [bottom/left] provides a Master Class on how to read grain with creatively and integrate it organically into a composition. Not simply "painted on" like a wall decoration, the rippling straight grain and explosive birds-eye in Starweeper bubble up from the heart of the briar and add a shimmering energy to the sides of the pipe. This visual pulse supplies a counterpoint to the tactile pleasure of our fingers flowing across the rugged plateau and around the swelling bowl … and in the end, we almost have the sensation that Starweeper is breathing within our hand as we smoke.

Post-show note about names:  The name Starweeper comes from the original StarTrek series; it was a small, carnivorous plant that inhabited the atrium of the Starship Enterprise.  Teddy remembered the character but couldn't remember its name ... and during this time of uncertainty, I started to incorrectly identify the pipe at shows as Moby Dick.  Teddy had always intended that name to be applied to the large, upright Whale/Seal variation, carved around the same time.  Eventually, after some Internet searching, we re-discovered the name Starweeper and now both pipes are securely established in their proper identifies.

 


 

 

Toku and Todd Johnson:  a trip to South Carolina
Master Classes and cross-fertilizations

In the fall of 2005, Tokutomi spent two weeks in South Carolina, visiting the offices of Smokingpipes.com and spending several days in the workshop of Todd Johnson, the young American pipe-maker, newly moved from Connecticut (and Yale Divinity School) to the South.

Toku conducted some informal "Master Classes" with Todd, working with him on four pipes. Todd at first asked Toku if he would like to "make a pipe," whereupon Toku chose a piece of briar, sat down at the sanding wheel, and roughly shaped a sitter. He handed the briar to Todd and told him to continue the pipe. Toku then watched Todd work, making comments and suggestions from time to time and answering Todd’s questions. Once in a while, Toku stepped in to help with some fine-turning (and in this way, Todd got to see Toku’s legendary proficiency with the Dremel.) But in the end, when all the pipes were completed, Toku said the pieces should carry only Todd’s stamp, as he had "done the work" and Toku had "only helped."

I found the "TokuTodds" especially fascinating because while the basic shape was given by Toku’s imagination, the final forms and finishing touches were supplied by Todd’s creativity.

First TokuTodd: Sitter

Toku rough-shaped this pipe and also did some later Dremel work on it. Compare previous Toku sitters … and an interesting non-sitting pipe from Nanna Ivarsson. I don’t believe Nanna’s composition has any direct connection with Toku’s work (I’m not sure she had seen anything by Tokutomi when she made the pipe). It’s always possible to encounter "parallel development" of a design or an idea. On the other hand, Nanna and Toku have the common experience of Sixten Ivarsson’s inspiration. Is that what we see appearing within the similarities of these forms?

Fourth TokuTodd: Blowfish Sitter

Toku did the rough shaping and a good deal of Dremel work, but he then returned to Japan and left Todd to do final shaping and finishing on his own. The photographs show the pipe at the end of Toku’s contribution. The changes Todd made to the shape – especially the shank – are quite interesting.

I include in the exhibit an (orange) sandblast Blowfish Sitter that Toku made a couple of months later, back in Japan. I see many similarities in the underlying shape of both pipes. (I also regard the orange sitter as an example of Toku’s "stone" aesthetic.)

 

 

The first picture below shows the roughly-finished blowfish sitter after Toku had completed his Dremel work.  The other photos show the final pipe that Todd completed after Toku had returned to Tokyo.  It's difficult to reproduce the same angle of view since a wood ferrule now sits on top of the shank and blocks our line of sight.  But we can see that Todd has thinned the shank and changed some of the lines of the composition.  His dark stain makes it difficult to see the plateau that Toku left around the tobacco chamber, but it is still there.

 

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CHICAGO 2006

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