"At the time, the problem I was facing was how to create a pattern while preserving the feel of the soft clay. One of the methods I tried was to draw patterns on the surface by poking dots on the surface, apply a thin layer of white slip, and then fire it. The kiln I was using at the time was a climbing kiln burning miscellaneous wood, which contained a small amount of foreign wood, so the salt content in the wood acted on it and gave me the effect I wanted. The main motif I used was cicada. Although the motif has not yet become a definite pattern, there are signs of a tendency for the direction of the form to be guided by the pattern.
While I was visiting the house where the work was being photographed and talking with the owner and the woman in charge of editing, it occurred to me that I should use the name Sen-Mon 千文 for the style of work I was working on.
The character for "thousand," 千 which evokes the sound of semi (cicada), seemed to be a good fit for a pattern of complex interlocking lines, and I also liked the appearance of the character with a small number of strokes. In some of the articles I wrote for the special feature, I included the incident that led me to use cicada as a motif.
It is interesting to note that cicadas reappear after a gap of about 20 years, somewhat similar to the ecology of butterflies that have been lurking in the ground for many years. I think that in ancient China, cicadas were used as a sign of rebirth.
The "Sen-Mon" developed and color was added, and it became "Kei-Sen-Mon"繋千文. The meaning of the word 繋 is "connect" in Japanese. The black lines were thicker and more connected. The reason is that it was born from a Sen-Mon 千文."