Nobuyasu Kondo made his way to Echizen in what he describes as a “series of unplanned events.”  He learned of the town and, more importantly, of master potter Juroemon Fujita VIII when an acquaintance of his encouraged him to visit Echizen and see the master’s work. As fate would have it, Fujita was in his studio the day Kondo visited, and when asked, agreed to become his teacher.  Once Kondo completed his training, he moved to work at Echizen Town community Pottery Studio, a facility sponsored by the Echizen government to support the development of young potters. It was there that he met the young female potter, Sanae, who later became his wife. The couple now shares a home and studio where they both work in their own styles of pottery. Kondo creates a verity of forms including delicately sized teapots, thrown and altered covered containers, and small deep bowls, often used in the Japanese Tea Ceremony 

     Kondo and his wife fire an American, Olson-style wood kiln. Kondo says, “I have used this kiln for more than ten years. The pieces, which it produces, often surprise me. They are frequently different from what I had expected or even intended to produce.” Kondo’s kiln often leaves a fine, semi-textured surface with a light to dark speckled graphite color on both the rims and body. At other times, it appears to produce light hues of blue and red with smoky undertones on the tops and spouts of his teapots. 

     As Kondo works in his studio, the rhythmic sound of a paddle hitting a coil of clay brings to mind the vision of Juroemon Fujita VIII quietly shuffling his feet backwards around a large wazumi pot. For him, this is the spirit of Echizen. He tries not to over-contextualize the forms he makes and says he wants to step outside his mind and let his body take over as he produces his work.