Black-glazed teabowl with red and olive-green slip-glaze patterning and impressed surface
3 1/8 x 4 3/8 in.
Kimono-shaped vessel patterned with "Pattern of One Thousand Threads", Keisenmonki series
Stoneware with polychrome matte slip underglaze in white, black, red and green
20 3/8 x 11 x 5 1/2 in.
Torso-shaped vase with thin neck and green, black, brown matte patterned decoration
15 x 9 7/8 x 6 3/4 in.
Small, undulating vessel with abstract cedar motif design
Stoneware with colored slip glaze
7 1/8 x 16 1/8 x 7 inches
Square standing beige and brown slip-glazed vessel with angled mouth and foot
14 3/8 x 13 1/8 x 6 1/4 inches
As a student, Wada was heavily influenced by his teacher Tomimoto Kenkichi (1886-1963). Wada’s techniques include a variety of decorative styles, such as black and white inlays, wax-resist, carving, under glaze, blue-and–white (sometsuke), and blown-on glaze. Moving from Kansai to Ibaraki Prefecture and into the ceramic town of Kasama enabled him to break free of more traditional aesthetics and develop his own repertoire of motifs and techniques more closely aligned to the work of Kamoda Shoji (1933-1983). For many decades he has been the most widely sought-after Japanese artist working with polychrome decorated surfaces. His sudden and early death in 2008 has left an enormous hole in the world of contemporary Japanese ceramics.