While yes there is a good amount of green inside, there is a heck of a lot of purple. It honestly reminds me of an odd imitation of a Japanese Sansai glaze, though this appears far more glassy than Yamane Seigan's and has a fair bit of crackling in the glaze ( oddly looks like a Celadon that has weird purple hues to it). While the shape certainly leaves much to be desired, as I think the hardest thing about pinchwork pottery is not having a good guess at how the clay will behave in the firing because it underwent such odd torques and twists in the forming, not to mention often has less than uniform thickness all over the piece.
I forget exactly how far back this piece was placed,but looking at it again, most the unglazed exterior is mostly bare of ash deposits my guess is this had to be somewhat far back in the kiln. The photo above shows the part of the piece that was furthest from the firebox and on the opposite side of the piece from the flow of ash, as you can see it is quite bare, and part of it did not even really get that blushed. While below we have the part that took the brunt of the ash flow.
While I really don't like this piece all that much, I must say the glaze effects are fascinating, I really have to throw up my hands and say I have no clue why so much purple came from an oribe, or even why in the middle of all that purple I got some intense forest green areas. This piece though feels oddly alive in a way I am not sure I can quite yet explain, but the glaze feels almost like water/ and vegetation surviving in an otherwise barren desert.
