TEFAF MAASTRICHT 2021 TEFAF 2021 A LIGHTHOUSE

A LIGHTHOUSE CALLED KANATA CALLED KANATA TEFAF Maastricht 2021 11th - 19th September Early Access (9th) VIP Preview (10th) Our Raison D'etre

Yufuku Gallery ended its 27 years of existence in June 2020, and from its ashes was borne Indeed, a foreign audience has long supported Japanese aesthetics, and were often the first A Lighthouse called Kanata. to pick up on the beauty of things that the Japanese themselves could not see. Ukiyoe, Jakuchu, the Gutai School and the Mono-ha, Sugimoto, Kusama … these Japanese artists Kanata means “Beyond” or “Far Away” in Japanese, a romantic ideal imbued by the two and movements were virtually forgotten within Japan, yet had garnered global recognition CLAY GLASS characters that comprise it, literally meaning “Towards” and “You.” Towards you, I wish by its appreciation in Europe and America. Likewise, by highlighting Japanese aesthetics to be, but you are far away. This is a quintessentially Japanese ideal, filled with ambiguity outside of Japan, we hope for greater recognition of today’s artists by those who are willing Sueharu Fukami 8 Niyoko Ikuta 24 and nuance. to support them. And ultimately, it is our hope that such international recognition will go on to influence Japanese audiences, thereby reintroducing and reimporting our aesthetics Ken Mihara 10 Sachi Fujikake 26 Like much in our language, it gives the impression that you, of all persons, is far from me, within and throughout Japan. This will then lead to instil in future generations the beauty Keizo Sugitani 12 Masaaki Yonemoto 28 and yet, we long and yearn to be together. It is adoration, adulation, respect and reverence that is already lying in front of us, waiting to be discovered. yet from a distance, voyeuristic, metaphysical and ultimately indivisible. Shigekazu Nagae 14 Hidenori Tsumori 30 And lastly, these are challenging times, the future uncertain. The night is dark and full Yet perhaps more succinctly, I simply find beautiful the way it rolls off one’s tongue. of shadows. This is exactly why our artists need this gallery more than ever. And we will Eiko Kishi 16 Yoko Togashi 32 continue to shine a light at the dark and cold waters of the vast ocean we call life, hoping Kanjiro Moriyama 18 Kanata. KA. NA. TA. to steer these ships to safety, to the future, and to the beyond. My gallery will serve, and will continue to serve, as a beacon of hope for today’s artists and the artists of tomorrow. Yoshiro Kimura 20 And perhaps rather coincidentally, the word is also comprised of the initials of my family: my daughter Kii, my wife Namiko, and my son Towa. And I will be unable to shine this light without the support of you, our dear friends and clients, who have supported our mission with grace and generosity. This new gallery is not But, of course, this is merely coincidence. only for our artists. It is for you. PAINTING METAL & LACQUER

And why a lighthouse? The lighthouse symbolises many ideals we hold dearly. And lastly, it is for us, the dear members of my team, the people who make us “us”. You Takafumi Asakura 36 Satoru Ozaki 50 are doing incredible things, and this new home is for you to dream anew. Firstly, there is a saying in Japanese called “Ichigu wo Terasu”, or to “Illuminate a Corner”, Kentaro Sato 38 Naoki Takeyama 52 words spoken by Saicho, the founder of the Tendai school of Japanese Buddhism. There At a Lighthouse called Kanata, a new dawn rises. Ayane Mikagi 40 Kosuke Kato 54 are many talented artists in Japan today who are unknown, forgotten. We will continue The light nears. to shine a light on these artists, regardless of accolades or name recognition, age or sex. Masanori Maeda 42 Nobuyuki Tanaka 56 The only judgement we will make is simply based on the beauty that they create. Indeed, All of us truly look forward to welcoming you to A Lighthouse called Kanata’s debut

Kiyo Hasegawa 44 Mayu Nakata 58 all of our artists today have been found in this manner, and we will continue to do so. presentation at TEFAF Maastricht 2021 this September. The lighthouse serves to illuminate dark and forgotten corners where artists await to be Masaki Tanikawa 46 discovered. Wahei Aoyama Secondly, there is another old saying in Japanese that reads “Todai Moto Kurashi”, or “It Owner is dark underneath the lighthouse”. The closer you are to something, one will be unable A Lighthouse called Kanata OTHER MATERIALS ARTIST PROFILES to see what’s standing right before your very eyes. Sadly, I find that many Japanese are oblivious to the wonders of their own culture and aesthetics. Yet those who are far away Osamu Yokoyama 62 70 can see the light.

Kazumi Nagano 64

Joseph Walsh 66

2 3 “That which they call abstract is, in fact, the most real. For what is real is not the exterior of things, but the essence of things.”

Constantin Brancusi CLAY SUEHARU FUKAMI 深見陶治

Ao (Blue)

2020 Porcelain with celadon glaze H133.3 × W6.3 × D7.3 cm Details on page 70

8 9 KEN MIHARA 三原研

Sei (Awakening) XXI

2021 Unglazed stoneware H63.5 × W52 × D20 cm Details on page 71 10 11 KEIZO SUGITANI 杉谷恵造

umbra vitae

2021 Stoneware with glaze H68 × W48 × D19.5 cm Details on page 72

13 SHIGEKAZU NAGAE 長江重和

Forms that Resonate

2020 Porcelain with glaze H63 × W44 × D39 cm Details on page 73

14 15 EIKO KISHI 岸映子

Shinsho Wo Tsumu (Forms Within)

2021 Stoneware with coloured chamotte H89 × W88 × D29 cm Details on page 74

17 KANJIRO MORIYAMA 森山寛二郎

Kai (Turn) VII

2020 Stoneware with glaze H92 × W53 × D56 cm Details on page 75 18 19 YOSHIRO KIMURA 木村芳郎

Charger with Blue Glaze

2021 Half-porcelain, cobalt blue glaze H5.5 × Φ58 cm Details on page 76

20 21 GLASS NIYOKO IKUTA 生田丹代子

Ku-150 (Free Essence-150)

2021 Cut, laminated sheet glass H41 × W37 × D46 cm Details on page 77

24 25 SACHI FUJIKAKE 藤掛幸智

Vestige

2021 Blown, sandblasted sheet glass H37 × W34 × D29 cm

26 Details on page 78 27 MASAAKI YONEMOTO 米元優曜

Skyscraper XLIV

2021 Polished, laminated sheet glass H85 × W21 × D17 cm Details on page 79

28 29 HIDENORI TSUMORI 津守秀憲

Remnants Of

2021 Glass mixed with stoneware H56 × W37 × D37 cm Details on page 80

30 YOKO TOGASHI 冨樫葉子

Spiral

2021 Blown, cut glass left: H27 × W26.5 × D12.5 cm right: H22.5 × W22 × D13 cm Details on page 81

32 33 PAINTING TAKAFUMI ASAKURA 朝倉隆文

The Transcendence of the Primordial Heavens

2021 Black ink on aluminum leaf, mounted on 3 panels H184.2 × W280.5 cm Details on page 82

36 37 2021 KENTARO SATO Japanese pigments on Japanese paper, mounted on 4 panels Serenity VIII 佐藤健太郎 H182 × W364 cm Details on page 83 AYANE MIKAGI 三鑰彩音

Flowers in the Mist

2020 Japanese pigments on Japanese paper, mounted on 4 panels H190 × W344 cm Details on page 84

40 41 MASANORI MAEDA 前田正憲

both forgotten / light

2021 Japanese pigments on aluminum leaf, mounted on canvas H99.5 × W116.7 cm Details on page 85

42 43 2021 KIYO HASEGAWA Japanese pigments on gold leaf, mounted on 6 panels l’effervescence 長谷川幾与 H145.5 × W273 (in total) / W45.5 (individual) cm Details on page 86

44 45 MASAKI TANIKAWA 谷川将樹

le silence de l'espoir

2021 Japanese pigments on Japanese paper, mounted on canvas H100 × W100 cm Details on page 73

46 47 METAL & LACQUER SATORU OZAKI 尾崎悟

Now and Here VIII

2021 Hammered, polished stainless steel H125 × W82 × D65 cm

50 Details on page 88 51 NAOKI TAKEYAMA 武山直樹

Hakutai (A Thousand Years)

2021 Enamelled copper, gold leaf H36 × W40 × D33 cm Details on page 89

53 KOSUKE KATO 加藤貢介

Crescendo I

2021 Damascus steel, lacquered iron base H115 × W26 × D28 cm Details on page 90 54 55 NOBUYUKI TANAKA 田中信行

Tactile Memory 2019

2019 Dry lacquer on hemp H101 × W58 × D30 cm Details on page 91

56 57 MAYU NAKATA 中田真裕

Bloom

2021 Lacquer, linen, pigments, tin powder H35.5 × Φ35.7 cm Details on page 92

58 59 OTHER MATERIALS OSAMU YOKOYAMA 横山修

scribble

2021 Bamboo, rattan H115 × W60 × D52 cm Details on page 93

62 63 KAZUMI NAGANO 永野和美

Necklace

2021 Yellow gold 18ct, nylon thread, yellow gold 14ct plate Clasp: yellow gold 14ct magnet H2.6 × W13 × D12 cm Details on page 94

64 65 JOSEPH WALSH ジョセフ ウォルシュ

Enignum Locus – Tsubaki III

2017 Ash, bleach and oil H80 × W55.5 × D73 cm each Details on page 95

66 67 ARTIST PROFILES SUEHARU FUKAMI “To create a sense of noble simplicity and great silence, I search for a world of fundamental depth.” “The sounds of the soul, I embrace in clay. It is this moment, to capture the flowing of life itself, I hope.” KEN MIHARA 深見陶治 三原研 About the Artist About the Work About the Artist About the Work One of the most distinguished Japanese ceramists of his generation, Kyoto’s Sueharu The artist is known for his genre-defining high-pressure slip-casting techniques. Fukami’s Pristine forests, rugged ravines, gentle rivers and quiet mountains. Such are the landscapes The aesthetic qualities of serenity and the sublime coalesce within Mihara’s work. In Fukami (b. 1947 –) wishes to express the ‘infinite space’ that lies beyond the supple curves works are first realised by creating a 3-tiered plaster mould of considerable size and weight. that artist Ken Mihara (b. 1958 –) witnessed as a child, growing up in the majestic scenery essence, these qualities are the scents of Japan, a culture that has traditionally searched for and sharp silhouettes of his abstract porcelain sculptures, lusciously drenched in the delicate Porcelain slip is poured into this mould using a pressurised air compressor to ensure that of Izumo in Western Japan. With natural surroundings of great beauty, steeped in the beauty within wabi-sabi austerity, spiritual simplicity, and the cherishing of patina. Without translucency of the artist’s signature pale-blue seihakuji glaze. The triumphant edges and the porcelain clay is proportionately condensed without air pockets or impurities. Once the mysticism of ancient Shinto lore, Mihara’s solemn stoneware are borne and influenced from the use of glaze, the natural landscapes found on his hand-built facades are borne through arches borne from Fukami’s minimal forms represent what cannot be tangibly seen: the mould is removed, the work is dried completely. Fukami then uses an ultra-sharp Tungaloy deeply idyllic environs. His works are far more than odes to nature, however. They are, multiple, lengthy and difficult kiln-firings, with each firing revealing a new element to a circularity of life and the continuity of space itself. alloy blade and sandpaper to sharpen and hone the form into the work he envisions. After above all, a window into the artist’s soul, and are monuments of self-expression that capture work’s clay flavour that help to ‘unlock the memories trapped within clay.’ Yet perhaps most bisque-firing in an electric kiln, the work is sprayed with seihakuji (celadon) glaze, and then and convey the Ken Mihara of yesterday, today, and tomorrow. remarkable about Mihara is his ability to dramatically change styles over the years without With works in over 50 public collections, in particular the British Museum and Victoria reduction-fired in a gas kiln for approximately 30 hours. Creating only 6 to 8 sculptures diminishing the ‘essence’ found within his oeuvre. In fact, Mihara changes the physical & Albert Museum in London, the Metropolitan Museum in New York City, the Museum a year, the art of Fukami continues to inspire the discerning eyes of critics and collectors With acquisitions by over 40 leading institutions such as the Metropolitan Museum and appearance of his work every three to four years, altogether abandoning popular forms for of Fine Arts in Boston, the Musée national de céramique-Sèvres and many others, Fukami alike. the Victoria & Albert Museums, Mihara’s unglazed, multi-fired works have captivated new vistas. has contributed to defining and expanding the meaning, importance, and popularity of a global audience, propelling the artist to become one of the premier artists within contemporary Japanese ceramics to collectors and museums the world over. contemporary Japanese ceramics. Without question, it is Mihara who is emblematic of the The work featured in this year’s TEFAF catalogue, entitled Sei (Awakening), marks the Kanata aesthetic, and we are proud to have represented him for over 25 years. European debut of Ken Mihara’s latest series that was first revealed at A Lighthouse called

1947 Born in Kyoto, Kyoto Prefecture, Japan / Lives and works in Kyoto Kanata in 2020. Yet regardless of a given period in his career, each and every Mihara work is instantly recognisable as a Mihara. It is the immediate appeal of his clay flavour, Selected Awards his trademark blues and greys, the way his bases are elevated and executed with absolute 1985 Grand Prize, the Faenza International Ceramic Exhibition precision, the seemingly classical, time-tested presence that brims from his minimal 1992 Grand Prize, MOA Mokichi Okada Award silhouettes, that are unmistakable for any other artist, and which have not changed 1997 The yotoK Prefecture Culture Prize, Prize for Artistic Merit throughout the years. Ultimately, Mihara, Izumo and clay cannot be separated. They are 2008 Kyoto City Person of Cultural Merit one. 2012 Gold Prize, Japan Ceramic Society 1958 Born in Izumo, Shimane Prefecture, Japan / Lives and works in Izumo Selected Exhibitions Selected Awards 1986 44th International Competition of Ceramic Art, Faenza, Italy 1989 Prize, Japan Ceramic Art Exhibition (’91, ’95, ’08) Hetjens Museum, Düsseldorf, Germany 1992 Prize, Chanoyu-no-Zokei Exhibition (’94, ’02, ’03, ’04, ’10) 1987 Galerie Maghi Bettini, Amsterdam, The Netherlands Prize, International Ceramic Art Festival, Mino Galerie Maya Behn, Zürich, Switzerland 1993 Governor's Prize, Japan Traditional Arts and Crafts Exhibition, Chugoku Division Musée des Arts Decoratifs de la Ville de Lausanne, Switzerland 1995 Award of Excellence, Chanoyu-no-Zokei Exhibition (’05, ’06) 1993 Modern Japanese Ceramics in American Collections, Japan Society, New York / New Orleans Museum of Art / Honolulu Academy of Art, USA 1997 Prize, Unglazed Ceramic Public Offering Exhibition 1995 Japanese Studio Craft: Tradition and Avant-garde, Victoria & Albert Museum, London, UK 2001 Grand Prize, Chanoyu-no Zokei Exhibition (’08) 2002 Garth Clark Gallery, New York, USA 2006 Award, Paramita Ceramics Competition, Paramita Museum 2003 Japan – Ceramics and Photography: Tradition and Today, Deichtorhallen, Hamburg, Germany 2008 Japan Ceramic Society Award The uthR and Sherman Lee Institute for Japanese Art at The Clark Center, Hanford, USA 2005 Faenza International Ceramics Museum, Italy Selected Exhibitions 2006 Contemporary Clay: Japanese Ceramics for the New Century, Japan Society Gallery, New York, USA 1997 Yufuku Gallery, Tokyo, Japan (’98, ’99, ’00, ’02, ’03, ’05, ’06, ’07, ’09, ’11, ’13, ’15, ’18) Tôji: Avant-Garde et Tradition de la Cèramique Japonaise, Musèe national de cèramique Sèvres, France 2002 International Asia-Pacific Contemporary Ceramics Invitational Exhibition, Yingge Ceramics Museum, Taiwan 2008 The auerD Collection, California State University, University Library Gallery, USA 2008 Collect 2008, Victoria & Albert Museum, London, UK 2011 Purity of Form, The Clark Center for Japanese Art and Culture, Hanford, USA Joan B. Mirviss Ltd., New York, USA (’11) Modern Celadon: Ambient Green Flow – the Emergence and Rise of East Asian Celadon, New Taipei City Yingge Ceramic Museum, Taiwan 2009 Collect, Saatchi Gallery, London, UK (’10, ’11, ’12, ’13,’14,’15) 2012 Vallauris Ceramics Biennale, France 2010 Ken Mihara and Shihoko Fukumoto, Galerie Besson, London, UK 2013 TEFAF Maastricht, The Netherlands (’14, ’15, ’16, ’17, ’18, ’19, ’20, ’21) 2012 Japan Zu Gast, Galerie Marianne Heller, Heidelberg, Germany A Distant View: The Porcelain Sculpture of Sueharu Fukami, Garden Pavilion, Portland Japanese Garden, USA 2013 TEFAF Maastricht, The Netherlands (’14, ’15, ’16, ’17, ’18, ’19, ’20, ’21) 2014 Fukami Sueharu Porcelain Sculptures, Eric Thomsen Japanese Art, New York, USA Serenity in Clay, Liverpool Street Gallery, Sydney, Australia Art Stage Singapore, Singapore (’15, ’16, ’17) 2014 Art Stage Singapore, Singapore (’15, ’16, ’17) Art Miami, USA (’15, ’16, ’17, ’18, ’19) Tales Entwined as One – Shigekazu Nagae and Ken Mihara Exhibition, Yufuku Gallery, Tokyo, Japan Celadon Now: Techniques and Beauty Handed Down From Southern Song to Today, National Museum of Modern Art, Tokyo / The Museum of Ceramic Art, Hyogo, Japan (’15) Clark Art Institute Opening Exhibition, USA 2016 Spring Masters New York, USA Art Miami, USA (’15, ’16, ’17, ’18, ’19) EAF Monaco, Monaco 2015 Kei by Ken Mihara, Galerie Marianne Heller, Germany Art Taipei, Taiwan 2016 Spring Masters New York, USA 2017 TEFAF New York Spring, USA EAF Monaco, Monaco The reatestG Story Ever Told – The collection curated by Ryan Gander, National Museum of Art, Osaka p.8 – Kei – Memories in Clay, Japan Creative Centre / Mulan Gallery, Singapore 2019 West Bund Art and Design, Shanghai, China (’20) Art Taipei, Taiwan Silhouettes of Tomorrow, Yufuku Gallery, London, UK 2017 TEFAF New York Spring, USA Kichizaemon X | Fukami Sueharu x Kichizaemon XV – Raku Jikinyu, Sagawa Art Museum, Sagawa, Japan 2018 Seattle Art Fair, USA (’19) 2020 Reopening Celebration I ART in LIFE, LIFE and BEAUTY, Suntory Museum of Art, Tokyo, Japan 2019 Ken Mihara – IDYLLICAL SCULPTURES, Mayaro, Paris, France Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan Clay and Abstraction: When Memories Become Form, Mashiko Museum of Ceramic Art, Japan Silhouettes of Tomorrow, Yufuku Gallery, London, UK West Bund Art and Design, Shanghai, China (’20) p.10 Public Collections 2020 Sei (Awakening), A Lighthouse called Kanata, Tokyo, Japan Victoria & Albert Museum, UK / The Metropolitan Museum of Art, USA / Indianapolis Museum of Art, USA / Argentina Museum of Modern Art, Japanese House, Argentina / Musée Ariana, Switzerland / Musée d’Art et d’Histoire, Switzerland / The British Museum, UK Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan / Brooklyn Museum of Art, NY, USA / The Everson Museum of Art, NY, USA / MIC Faenza International Museum of Ceramics, Italy / French Culture Foundation, France / Hetjens Museum, Düsseldorf, Germany / International Permanent Collection of Modern Art, 2021 Art Fair Tokyo, Japan Yugoslavia / Musée de design et d’arts appliqués contemporains, Lausanne, Switzerland / Musée National de Céramique, Sévres, France / Museum of Art, Rhode Island School of Design, USA / Museum of Fine Arts, Boston, USA / Newcastle Art Gallery, Australia / New Orleans Museum of Art, USA / North Carolina Museum of Art, USA / Portland Art Museum, USA / Saint Louis Art Museum, USA / Spencer Museum of Art, USA / The Art Institute of Chicago, USA / The National Museum of History, Taiwan / The Yale University Art Gallery, USA / Aichi Prefectural Ceramic Museum, Japan / Chazen Museum of Art, USA / Kameoka City, Japan / Kyoto Municipal Museum of Art, Japan / Kyoto Prefectural Library and Archives, Japan / Museum of Modern Ceramic Art, Japan / Suntory Museum, Japan / The Japan Foundation, Japan / The Ministry of Foreign Affairs, Japan / The National Museum of Modern Art, Tokyo, Japan / The National Museum of Art, Osaka, Japan / The Shigaraki Ceramic Cultural Park, Japan / Tokoname City Education Bureau, Japan / Tsurui Public Collections Museum of Art, Japan / Minneapolis Institute of Art, USA / Auckland War Memorial Museum, New Zealand / National Gallery of Australia, Canberra / Ackland Art Museum, Chapel Hill, USA / The Museum of Fine Arts, Houston, USA / Harvard Art Museum, USA / Museum of Contemporary Art, Belgrade, Serbia / The National Museum of Modern Art, Kyoto, Japan / MOA Museum of Art, Japan / Rakusui-tei Museum of Art, Japan / French Culture Foundation, France / Philadelphia Museum of Art, USA / Kyoto State Guest House, Metropolitan Museum of Art, USA / New Orleans Museum of Art, USA / Museum of Ceramic Art, Japan / Gifu Ceramics Museum, Japan / Philadelphia Museum of Art, USA / Victoria & Albert Museum, UK / Los Angeles County Museum of Art, USA / Yale University Japan / Ibaraki Ceramic Art Museum, Japan / Musée Tomo, Tokyo, Japan / Museum of Modern Ceramic Art, Gifu, Japan / Museum of Contemporary Ceramic Art, Shiga, Japan / Museum of Kyoto, Japan / The Museum of Ceramic Art, Hyogo, Japan / Okada Museum of Museum of Art, USA / Peabody Essex Museum, USA / National Museum of Modern Art, Japan / Takagi Bonsai Museum, Japan / Tanabe Art Museum, Japan / East-Hiroshima City Museum, Japan / Tokyo Sankei Building, Japan / The Gotoh Museum, Japan / Herbert F. Art, Japan / Tokyo Opera City Art Gallery, Japan / Hoki Museum, Japan / Museum Richo, Kyoto, Japan / Sekiguchi Museum, Japan / Yanagisawa Collection, Japan / National Museum of Scotland, Edinburgh / Museo Carlo Zauli, Faenza, Italy / Musée des arts décoratifs, Johnson Museum of Art, Cornell University, USA / Mary And Jackson Burke Foundation, USA / Minneapolis Institute of Art, USA / Musée Tomo, Japan / Aichi Prefectural Ceramic Museum, Japan / Museum of Fine Arts, Boston, USA / Chazen Museum of Art, University Paris, France / Lotte Reimers-Foundation, Deidesheim, Germany / Musée d’art et d’histoire, Geneva, Switzerland / Musée Sriana, Geneva, Switzerland / Museum of Decorative Arts, Prague / Museo de Arte Moderno de Buenos Aires, Argentina / Smithsonian Museum, The of Wisconsin-Madison, USA / Shimane Art Museum, Japan / Aichi Prefectural Ceramic Museum, Japan / La Casa de Japón, Argentina / National Gallery of Australia, Australia / Canberra University Art Museum, Australia / Spencer Museum of Art, USA / The Museum of Freer Gallery of Art and Arthur M. Sackler Gallery, USA / Peabody Essex Museum, USA / Burke Collection, NY, USA / Newark Museum, USA / Asian Art Museum of San Francisco, USA / Birmingham Museum of Art, UK / Road Island School of Design Museum, USA / Asian Art, Germany / Walters Art Gallery, USA / Brooklyn Museum, USA / Asian Art Museum, USA / Lotte Reimers-Stiftung, Germany / Grassi Museum, Germany / The Japan Foundation, Japan / Embassy of Japan (Japan Creative Center), Singapore / Mint Museum, USA National Museum of History, Taipei, Taiwan / Musée Ariana, Switzerland / Musée Cernuschi, France / Mashiko Museum of Ceramic Art, Japan / Ibaraki Ceramic Art Museum, Japan

70 71 KEIZO SUGITANI “To capture a man and a woman, in love, together, in raw, primitive harmony, where shadows combine as one.” “What matters above all is the pursuit of beauty in form. Nothing else.” SHIGEKAZU NAGAE 杉谷恵造 長江重和 About the Artist About the Work About the Artist About the Work To capture a man and a woman, in love, together, in raw and simple harmony, where Although imbued with the rustic sheen of metal, Sugitani’s works are in fact creations in Oft considered to be one of the leading pioneers of abstract porcelain, Shigekazu Nagae (b. Nagae’s latest series ‘Forms that Resonate’ test the limits of his porcelain slip-casting shadows combine as one. Keizo Sugitani’s (b. 1959 –) interlocking forms tell the tale of life Shigaraki clay that are hand-built into interlocking forms that are almost Escher-esque in 1953 –) has elevated the technique of slip-casting into a mode of the avant-garde. Porcelain techniques, and is the culmination of his extensive experiments into the qualities of both itself, the story of mankind falling in love, embracing, the miracle that is life, the wonder their simple complexity. The artist, after blending a base white clay, begins the rigorous slip-casting has traditionally been associated with the mass production of utilitarian clay and fire. Two independent, triangular pieces are first slip-cast using liquid porcelain in that is two bodies meeting together in both time and space. Totemic, talismanic, primitive process of hand-coiling his sculptures into the forms in his mind’s eye. After carving and vessels, yet the artist has valiantly fought to transcend such stereotypes by creating wildly a plaster mould, which is subsequently dried and bisque-fired. After carving and etching in their unadorned patina yet brimming with the energy of both Eros and Thanatos, smoothening the surfaces, the artist bisque-fires the work, and then applies an original glaze original works of art that manipulate the distinct qualities of both slip-casting and kiln- the surface of the clay body to the mind’s eye of the artist, the parts are suspended in Sugitani’s ceramic sculptures are odes to the primordial beauty of mankind, our life history filled with copper that, after a main firing in his gas-kiln, gives his works a distinctive patina firing. In fact, it is the intensity of Nagae’s kiln fires that help mould, shape and curve his mid-air within Nagae’s kiln by hanging upon a flame-resistant metal rod. Glaze is further told as the unification of you and me, of simple bodies conjoining together as one. With similar to rusted metal. Appearances can be deceiving, and the sheer formative simplicity of delicate white porcelain, thereby giving birth to sleek and organic silhouettes previously applied between the joints of each part, and this glaze turns to glass through the kiln fires, shadows revealing a visceral elegance brimming with the sheer urgency of now, imbued the artist’s sculptures masks the difficulty of firing such towering totems in clay, and hide, unimaginable in the context of porcelain clay. helping to conjoin the pieces into a single unity. By manipulating the power of gravity, the within are the complexities behind love, sadness, happiness and loneliness. Sugitani's works perhaps in the shadows, the modern mastery of Keizo Sugitani. The artist’s latest series following main firing helps to drape and taper the porcelain body into riveting silhouettes. are minimal poems in abstraction that call to mind the primeval inclinations of man, with umbra vitae represents the connection of lives that cross together in both sunlight and Nagae’s international recognition is strong, with consecutive acquisitions by the Victoria & In other words, Nagae’s seductive curvatures are a result of natural kiln effects that rustic green and copper hues emerging from the depths of his greyish black glaze, works shadows, different worlds interconnected in the winding road that we call life. Albert Museum in London, the Los Angeles County Museum of Art, and the Powerhouse serendipitously warp the porcelain into original forms that cannot be realised otherwise. elegantly hand-built in innocent grandeur. Museum in Sydney, totalling 24 museums throughout the world. Also collected by leading The resulting work is a virtuosic display of abstract elegance, almost paper-like in its thin, institutions such as the Musée national de céramique-Sèvres and the Museum of Fine Arts, seductive movements, in essence inspired by and symbolically recreating the natural beauty Calling to mind the abstractions of Eduardo Chillida, Barbara Hepworth and Isamu Boston, and recently the Metropolitan Museum of Art in 2016, vibrant is Nagae’s stature of the hills, rivers, and gentle winds of the artist’s hometown of Seto, Japan. Noguchi, there is a primal rawness to Sugitani's works that limn the Primitivism of the in the world of porcelain. Nabi and the austere simplicity of Brutalist architecture. Entitled umbra vitae (Shadows of Life), Sugitani’s latest series transcends the individual for the collective, and represents not simply the interconnectivity between man and woman, but of mankind and the peaceful union between different peoples that comprise society itself. 1953 Born in Seto, Aichi Prefecture, Japan / Lives and works in Seto

Selected Awards 1979 Grand Prize, Japan Ceramics Exhibition 1986 Grand Prize, Chunichi International Ceramics Exhibition 1959 Born in Osaka Prefecture, Japan 1992 Grand Prize, Asahi Ceramics Exhibition 1982 Ceramic Art Institute of Tekisui Museum of Art 1998 Grand Prize, Triennal de la Porcelain, Nyon, Switzerland Lives and works in Osaka Selected Exhibitions Selected Awards 1998 Yufuku Gallery, Tokyo, Japan (’99, ’08, ’10, ’12, ’15) 1996 Prize, All Kansai Art Exhibition (’97) 1999 Triad of Porcelain, Nancy Margolis Gallery, New York, USA 1998 Selected, Asahi Ceramic Exhibition (’99) SOFA NYC, USA 2017 Selected, The 11th International Ceramics Competition Mino 2000 Galerie Le Vieux-Bourg, Lonay, Switzerland 2001 Invited to 6th Triennale Internationale Porcelaine Contemporaine, Nyon, Switzerland Selected Exhibitions 2002 International Asia-Pacific Contemporary Ceramics Invitational Exhibition, Yingge Ceramics Museum, Taiwan 2014 The romiseP – Keizo Sugitani Solo exhibition, Yufuku Gallery, Tokyo, Japan 2006 Contemporary Clay: Japanese Ceramics for the New Century, Japan Society Gallery, New York, USA Collect, Saatchi Gallery, London, UK (’15) Contemporary Claywork (Avant-garde et tradition du Japon), Musée national de céramique – Sèvres, Paris, France 2015 Art Miami, USA (’16, ’17, ’18, ’19) 2008 Collect, Victoria & Albert Museum, London, UK 2016 Art Stage Singapore, Singapore (’17) 2009 Collect, London, UK (’10, ’11, ’12, ’13, ’14, ’15) TEFAF Maastricht, The Netherlands (’17, ’18, ’19, ’20, ’21) Group Exhibition, Quest Gallery, Bath, UK Shadows Crossing – Keizo Sugitani Solo exhibition, Yufuku Gallery, Tokyo, Japan 2011 Galerie Hélène Porée, Paris, France Spring Masters New York, USA Yido Gallery, Seoul, South Korea EAF Monaco, Monaco Joan B. Mirviss Ltd., New York, USA Art Taipei, Taiwan 2012 Art Fair Tokyo, Japan (’13) 2017 TEFAF New York Spring, USA Vallauris Ceramics Biennale, France 2018 Shadows Crossing II – Keizo Sugitani, Yufuku Gallery, Tokyo, Japan 2013 TEFAF Maastricht, The Netherlands (’14, ’15, ’16, ’17, ’18, ’21) Seattle Art Fair, USA (’19) 2014 Art Stage Singapore, Singapore (’15, ’16) 2019 Shadows Crossing – Keizo Sugitani Solo exhibition, Gallery Maronie, Kyoto, Japan Tales Entwined as One – Shigekazu Nagae and Ken Mihara Exhibition, Yufuku Gallery, Tokyo, Japan West Bund Art and Design, Shanghai, China (’20) Clark Art Institute Opening Exhibition, Massachusetts, USA Silhouettes of Tomorrow, Yufuku Gallery, London, UK Art Miami, USA (’17) 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan 2016 Spring Masters New York, USA SCULPTURE AND PAINTING – Keizo Sugitani and Arvid Boecker, Galerie Marianne Heller, Heidelberg, Germany EAF Monaco, Monaco Art Taipei, Taiwan 2017 Forms that Entwine, Galerie Marianne Heller, Heidelberg, Germany 2018 Seattle Art Fair, USA Group Exhibition, Porcelain Art From Japan, Galerie Marianne Heller, Heidelberg, Germany 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan p.12 Public Collections p.14 The Horvitz Collection, USA Public Collections Metropolitan Museum of Art, USA / Herbert F. Johnson Museum of Art, Cornell University, USA / Japan Foundation, Japan / Los Angeles County Museum of Art, USA / Museum of Modern Ceramic Art, Japan / Musée national de céramique – Sèvres, France / Musée Ariana, Switzerland / Museum of Fine Arts, St. Petersburg, USA / Minneapolis Institute of Art, USA / Seto City Art Museum, Japan / Shiga Cultural Ceramic Park, Japan / The National Gallery of Australia / Tokoname City, Japan / Victoria & Albert Museum, UK / Yale University Art Gallery, USA / Aichi Prefectural Ceramic Museum, Japan / Powerhouse Museum, Australia / Musée Cernuschi, France / Museum of Fine Arts, Boston, USA / Harris Museum, UK / Bristol Museum and Art Gallery, UK / Hetjens Museum, Germany / Museum of Asian Art, Berlin, Germany / Museum of Modern Ceramic Art Gifu, Japan / Asian Art Museum, USA

72 73 EIKO KISHI “Crack them open, and you will find the same colours within. Exteriors revealing interiors – this is what I wish to express.” “I search for beauty in abstraction using materials and techniques often commonly associated with the utilitarian.” KANJIRO MORIYAMA 岸映子 森山寛二郎 About the Artist About the Work About the Artist About the Work Like jewels embedded in ancient treasures, thousands of pebbled, colourful chamottes dot Kishi’s creations are pain-staking testaments to the observance of the importance of The idyllic kiln site of Koishiwara is a traditional Mingei folk pottery, tucked away from By throwing individually large, cylindrical pots and cutting them while still wet, Moriyama the surfaces of Kyoto artist Eiko Kishi’s (b. 1948 –) towering sculptures in clay. In fact, craftsmanship within the making of great beauty. Her chamottes are pulverized pellets of view in the gentle foothills of Kyushu. Yet from this sleepy locale comes forth the riveting has devised a method of attaching separately thrown forms together to create an intriguing, up to thirteen varying pigments and pastels can be found sprinkled throughout the artist’s coloured clays that are kneaded directly into the Shigaraki base clay before formation; for abstract sculptures of Kanjiro Moriyama (b. 1984 –), an artist who embraces the clay of unique whole. What is important to note, however, is that his silhouettes are impossible to creations. Not affiliated with any particular movement or artistic group, Kishi has long this reason, Kishi’s works can be incised from any angle or dimension to reveal hidden his hometown, yet with a penchant for the avant-garde. There is a purity to his lines and form by hand-building, and his loops, lines and curves can only be realised by the wheel. worked alone, honing her works over the years without dependence on the associations rainbows of colour underneath her surfaces. Using both slab-building and hand-pinching, curves, a visceral elegance that speaks volumes of the nature of the artist himself. Much like After cutting and glazing, the respective pieces are bisque-fired, and then an initial main that commonly dictate artistic circles within Japan. Yet throughout the decades, Kishi has Kishi first shapes a generally abstract silhouette through elongated blocks of clay. Then with his work, the youthful Moriyama is a juxtaposition of many elements; at once starry-eyed firing takes place at a temperature of 1250 degrees Celsius within a gas kiln. It is only at the built a following within not only the ceramic avant-garde of Kyoto but with collectors the use of a ‘kanna’ blade, she striates the surfaces of the damp material, creating linear and innocent, yet possessing an aesthetic wisdom beyond his years; extraordinarily humble, next and final main firing wherein the individual parts are attached with glaze and fired/ and museums throughout the world, as evidenced by acquisitions of her works by over patterns that sharpen and tighten a work’s overall form. Further, Kishi meticulously pokes yet brimming with sculptural confidence. fused together – an intricate, complex and extremely difficult process. Luscious silhouettes 30 public collections, thereby pioneering the equal recognition of female artists within small holes into the coloured grogs that extend upon the entirety of her work, and using a combined with razor edges, drenched in glazes both white, black and metallic glazes, Japanese ceramics. small brush, further applies various coloured slip into each and every hole on the facades of He is many things, and that is why Moriyama has quickly become one of the forerunners of Moriyama’s sculptures present new vistas in ceramic art for the 21st century. her works. Lastly, the artist applies a transparent glaze to her surfaces. After a bisque-firing a new generation of emerging A Lighthouse called Kanata artists who push the boundaries Today, Kishi is widely considered to be one of the most celebrated woman artists of her of 850 degrees Celsius, Kishi fires her works at a temperature of up to 1250 degrees Celsius of their materials and techniques to new heights, this prominence being recognized by generation, and her achievements have helped to trailblaze a path for other woman artists during her main firing within an electric kiln. Having worked with the artist for over 20 acquisitions by 7 public collections while still in his mid-30’s. In particular, Moriyama in a multitude of genres to break free from the conservative constrictions imposed by years, Kanata is proud to reintroduce Kishi’s latest oeuvre to a discerning international is a pioneer in taking the humble potter’s wheel, a tool predominantly used for the mass traditional Japanese society. In this light, one cannot understate Kishi’s extraordinary audience at TEFAF Maastricht. production of vessel forms, and turning it into a viable means for abstraction, essentially contributions within contemporary Japanese art. deconstructing the pots he throws into dynamically oscillating silhouettes. With soaring new works that seemingly defy gravity, Moriyama’s singular aesthetics bring us a step closer to the heavens.

1984 Born in Koishiwara, Fukuoka Prefecture, Japan 1948 Born in Nara Prefecture, Japan 2007 Saga University / Lives and works in Koishiwara Lives and works in Kyoto Selected Awards Selected Awards 2007 Grand Prize, Asahi Ceramics Exhibition 1984 Special Prize, Kyoto Arts & Crafts Exhibition 2013 Mayor’s Prize, The 110th Kyushu / Yamaguchi Ceramic Art Exhibition 1985 Grand Prize, Asahi Ceramic Exhibition Encouragement Award, Kobe Biennale Contemporary Ceramics Exhibition Ministry of Culture Prize, Women’s Association of Ceramic Art Selected, 58th Faenza International Ceramic Exhibition, Faenza, Italy 1991 The ayorM Prize, Kyoto City Exhibition at Kyoto Municipal Museum of Art (’92) Selected, 5th Kikuchi Biennale Ceramic Exhibition Grand Prize, The 20th Choza Ceramic Art Exhibition 2014 Award of Excellence, Ceramic Art of Today, 3rd Hagi Grand Prize Exhibition 1995 Silver Prize, Yakishime Ceramic Exhibition 14th Kakiemon Memorial Award, The 2nd TOBI Ceramic Art Exhibition Fine Art Prize, The 4th Togei Biennale 2016 Grand Prize, The 4th TOBI Ceramic Art Exhibition 1999 Silver Medal Prize, The 51st International Competition for Contemporary Ceramic Art Minister’s Prize, Arita International Ceramics Competition 2013 The inisterM of Education Prize, The 36th Kyoto Association of Craft Artists Exhibition 2017 Nominated, The 24th Japan Ceramics Exhibition Selected Exhibitions Selected, The 11th Mino International Ceramics Competition 1994 Extreme Osaka Kansai International Airport Commemoration Exhibition Project by Toshiyuki Kita, Milan, Italy Selected, The 7th Kikuchi Ceramics Biennale 2001 Art and Crafts Kyoto Exhibition, Edinburgh, UK 2019 Iwakuni Art Museum Prize, Ceramic Art of Today, 5th Hagi Grand Prize Exhibition Solo Exhibition – Master of Clay Five Artists from Kyoto, Barry Friedman Gallery, New York, USA Award of Excellence, The 8th Kikuchi Ceramics Biennale 2002 The nternationalI Art + Design Fair, New York, USA Selected Exhibitions 2005 Contemporary Clay – Japanese Ceramics for the new century, Museum of Fine Arts, Boston, MA, USA / Japan Society New York, USA (’06) 2002 The 85th agaS Art Exhibition, Saga Prefectural Art Museum, Japan (’03, ’04, ’06) 2006 Tradition and Avant-Garde of Japanese Ceramic Art, Musée National de Céramique, Paris, France 2003 The 33rd Nagasaki Ceramic Art Exhibition, Nagasaki Prefectural Art Museum, Japan The Ceramic Art of Kishi Eiko, Joan B. Mirviss LTD, New York, USA (’08, ’12, ’19) The 53rd Saga Prefectural Exhibition, Saga Prefectural Art Museum, Japan (’04, ’07) 2007 Kyoyaki Ceramics Exhibition, The 100th Anniversary of Takashimaya Art Gallery in Osaka, Kyoto and Tokyo, Japan 2004 The 20th Contemporary Arts and Crafts Exhibition of Kyushu, The Kyushu Ceramic Museum, Japan Soaring Voices – Contemporary Japanese Women Ceramic Artists, The Shigaraki Ceramic Cultural Park, Shiga, Japan / France / USA The 25th Chikugo Art Exhibition, Sathankusu Chikugo, Japan 2008 Generosity in Clay – from the Natalie Fitzgerald Collection, Clark Center for Japanese Art and Culture, CA, USA 2005 The 102nd yushuK Yamaguchi Ceramic Art Exhibition, The Kyushu Ceramic Museum, Japan (’07, ’12, ’13) Museum of Art & Design Opening Exhibition, New York, USA p.18 p.16 2006 Group Exhibition, The Saga City Cultural Museum, Japan 2009 Paramita Museum Ceramic Art Exhibition, Paramita Museum, Mie, Japan 2007 The 28th Choza rizeP Contemporary Ceramic Art Exhibition, Aichi Prefectural Ceramic Museum, Japan (’13) Touch Fire – Contemporary Japanese Ceramics by Women Artists, Smith College Museum of Art, MA, USA 45th Commemorative Asahi Ceramic Art Exhibition, The Shigaraki Ceramic Cultural Park, Japan Through the Seasons: Japanese Art in Nature, The Clark Museum, MA, USA 2008 64th Fukuoka Prefectural Art Exhibition, Fukuoka Prefectural Museum of Art, Japan (’09, ’10, ’11, ’12) 2017 TEFAF Maastricht, The Netherlands (’18, ’19, ’20, ’21) 2010 Solo Exhibition, Eiko Kishi, Clara Scremini Gallery, Paris, France Mashiko Ceramic Art Exhibition, Mashiko Museum of Ceramic Art, Japan TEFAF New York Spring, USA 2011 Contemporary Japanese Ceramic Sculptures by Four Women Artists, Asian Art Museum, San Francisco, CA, USA 2009 Young Artists Group Exhibition, House of Ryoichi Yamaguchi, Japan 2018 Seattle Art Fair, USA 2012 Beauty in All Things: Japanese Art and Design, Museum of Art and Design, New York, USA 2010 KUMAMOTO FINAL Biennale, Contemporary Art Museum Kumamoto, Japan fly me to the moon – kanjiro moriyama, Yufuku Gallery, Tokyo, Japan 2013 Japanese Ceramics for the Twenty-First Century, The Betsy and Robert Feinberg Collection, The Walters Art Museum, Baltimore, MD, USA Contemporary Ceramics Hagi Grand Prize Exhibition III, Hagi Uragami Museum, Japan 2019 Kanjiro Moriyama Solo Exhibition, Atelier HIRO, Osaka, Japan 2014 Points of Departure Treasures from the Brooklyn Museum, Japan Society, New York, USA 2011 9th International Ceramics Festival, Mino, Japan Kanjiro Moriyama Solo Exhibition, Takashimaya Department Store, Tokyo, Japan FIRED EARTH WOVEN BAMBOO Contemporary Japanese Ceramics and Bamboo Art, Museum of Fine Arts, Boston, MA, USA Public Collections Kobe Biennale Contemporary Ceramics Exhibition, The Museum of Ceramic Art / BB Plaza Museum of Art, Japan Kanjiro Moriyama Solo Exhibition, Iwataya Mitsukoshi Department Store, Fukuoka, Japan 2015 Unfolding Worlds – Japanese Screens and Contemporary Ceramics from the Gitter-Yelen Collection, Museum of Fine Arts, Houston, TX, USA 2012 Lines and Curves Exhibition, Fukuoka, Japan Special Exhibition “Emerging from the clay – Saga University’s Pottery” Saga University Art Museum, Japan Ancient to Modern Japanese Contemporary Ceramics and their Sources, San Antonio Museum of Art, TX, USA Brooklyn Museum, USA / Metropolitan Museum of Art, USA / Minneapolis Institute of Arts, USA / 2013 58th Faenza International Ceramic Exhibition, Faenza, Italy (’15) West Bund Art and Design, Shanghai, China (’20) Contemporary Japanese Ceramics in Global Context, The Metropolitan Museum of Art, New York, USA Museum of Art and Design, USA / Museum of Fine Arts, Boston, USA / Museum of Fine Arts, Houston, USA / Victoria & Albert Museum, UK/ National Museum of Scotland, UK / New Orleans Museum of 5th Kikuchi Biennale Ceramic Exhibition, Tokyo, Japan 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan 2016 Sculptural Turn Contemporary Japanese Ceramics from the Kempner and Stein Collection, Asian Art Museum of San Francisco, CA, USA Art, USA / Northern Clay Center, USA / Philadelphia Museum of Art, USA / Hamilton Art Gallery, 22nd Japan Ceramic Art Exhibition, Ibaraki Ceramic Art Museum, Japan end of the world supernova II – kanjiro moriyama, A Lighthouse called Kanata, Tokyo, Japan 2017 Solo Exhibition – Shinsho wo tsumu, Nihonbashi Takashimaya Department Store, Tokyo / Kyoto, Japan Australia / The Harn Museum of Art at the University of Florida, USA / International Ceramic Museum, 2014 Tobi Ceramic Art Exhibition, Tokyo, Japan 2021 Art Fair Tokyo, Japan TEFAF New York, USA Italy / Kecskemet International Ceramics Studio, Hungary / Musée Cernuschi, France / Musée national de Collect, London, UK (’15) Infinite Blue – Group Exhibition, Brooklyn Museum, New York, USA céramique – Sèvres, France / Sekiguchi Museum, Japan / Seto City Art Museum, Japan / Shigaraki Ceramic The eautyB of Materials, Galerie Marianne Heller, Germany New Forms, New Voices: Japanese Ceramics from the Gitter-Yelen Collection, New Orleans Museum of Art, USA Cultural Park, Japan / Smith College Museum of Art, USA / New Taipei City Yingee Ceramics Museum, loops. lines. curves – kanjiro moriyama Solo exhibition, Yufuku Gallery, Tokyo, Japan TEFAF Maastricht, The Netherlands (’19, ’20, ’21) Public Collections Taiwan / Tokoname City, Japan / Frederick R. Weisman Art Museum, USA / Yale University Art Gallery, 2015 Art Stage Singapore, Singapore (’16, ’17) 2018 To the Ideal Land of Ceramics, Exhibition of International Contemporary Ceramic Works, The Tsinghua University Art Museum, Beijing, China USA / Clark Center for Japanese Art and Culture, USA / Cincinnati Art Museum, USA / Tsinghua University Victoria & Albert Museum, UK / Asian Art Museum, USA / Faenza International Ceramics Museum, Italy / Museum Japan!, Mouvements Modernes, Paris, France 2019 Infinite Blue Exhibition – Brooklyn Museum, New York, USA Art Museum, China / Chazen Museum of Art, Madison, USA / Ashmolean Museum of Art, University of of Fine Arts, Houston, USA / The Ann and Gabriel Barbier-Muller Museum, Dallas, USA / The Kyushu Ceramic Art Miami, USA (’16, ’17, ’18) Kyoto Capital of Artistic Imagination, Metropolitan Museum, New York, USA Oxford, UK Museum, Japan / Gitter-Yelen Collection, New Orleans, USA 2016 Spring Masters New York, USA EAF Monaco, Monaco Selected Commissions Works Art Taipei, Taiwan end of the world supernova – kanjiro moriyama, Yufuku Gallery, Tokyo, Japan Ritz-Carlton Hotel, Nanjing, China / Raffles Shenzhen, China

74 75 YOSHIRO KIMURA “I wish to create works that help the viewer feel eternity in a single glance.” “The image that impresses itself on the viewer represents the true and final nature of my work.” NIYOKO IKUTA 木村芳郎 生田丹代子 About the Artist About the Work About the Artist About the Work To capture the deep, bold blues of the oceans and skies upon the surfaces of his porcelain The artist commonly works with vessel forms, yet what Yoshiro Kimura tries to express is a The history of glass art in Japan is a relatively youthful one. Yet this reality is hardly a Capturing the complexity of light as it reflects, refracts and passes through cut cross objects – such is Hiroshima-based artist Yoshiro Kimura’s (b. 1946 –) reason for creation. Zen-like serene spirituality that brims from the gradations of colour that almost melt from bane but a blessing, for glass artists are not shackled by the constrictions imposed on their sections of sheet glass, conveyed in Ikuta’s glass sculptures are the artist’s aesthetic melodies Deeply influenced by the philosophies behind Zen Buddhism and the Way of Tea, Kimura light to dark blues, in particular where his glazes pour and flow from the top of his works creativity by the towering ghosts of tradition. It is within this context that the creativity – graceful, almost musical manifestations of Ikuta’s inner consciousness, each sheet of glass had travelled to over 47 countries throughout the world during his years in university, and to their bases. Thrown on the wheel, his works feature a blend of porcelain and stoneware of Kyoto artist Niyoko Ikuta (b. 1953 –) flows freely into her spiralling sheets of glass. cut by hand and attached one by one with a special type of glue that disappears completely was first drawn to the beauty of clay upon seeing the enigmatic blue pigments of ancient clays that help ease the process of throwing large forms. His trademark layered cobalt blue Considered to be one of the leading figures in Japanese glass art, Ikuta has enraptured under ultraviolet light. In fact, Ikuta’s signature series “Ku” expresses the Buddhist concept Persian ceramics. Yet with the memory of witnessing first-hand the vivid colours of the glaze was developed during his twenties, and with age, Kimura has been able to mature collectors and museums the world over for her dynamic sculptures, executed with emphatic of reality and existence as being different yet “true” to each and every individual. The reality Aegean Sea and the Pacific Ocean in Hawaii, Kimura would be inspired to recreate such and develop the colours to its current, mesmerising depths, created with multiple layers lyricism and spellbinding precision. With the artist’s glass works collected by leading public perceived by one person may be different from the reality experienced by another, even natural beauty in his ceramic works. Kimura has received great acclaim for his signature and consecutive firings of great difficulty. One can also discover linear motifs etched upon institutions such as the Metropolitan Museum in New York and the Victoria & Albert though they are equally true. Likewise, Ku changes completely at each and every angle, bold hekiyu (blue glaze), with his works being collected by museums throughout the world, the surfaces of his clay bodies, which further accentuate his blues and which add an extra Museum in London, Ikuta’s works continue to inspire generations of younger artists. yet each individual viewer, even from different viewpoints, will still experience its true including the British Museum, the Musée national de céramique-Sèvres, the Victoria & dimension to his objects. Ultimately, Kimura draws upon and limns the beauty of the sky self. The iridescent rhythms of glass, captured herein, sparkling, riveting, and ultimately, Albert Museum in London, and the Museo Art Nouveau y Art Déco in Salamanca, Spain, and oceans into his beautiful blues, often affectionately called ‘Kimura Blue’ by aficionados enrapturing. etc. in Japan and the world over.

1953 Born in Kyoto, Kyoto Prefecture, Japan Lives and works in Kyoto

1946 Born in Ehime Prefecture, Japan Selected Awards Lives and works in Hiroshima 1986 Mayor's Prize, Kyoto Exhibition, Kyoto Municipal Museum of Art Selected Awards 1987 Japan Glass Artcrafts Association Prize 1984 Encouragement Prize, 31st Japan Traditional Art Crafts Exhibition 1991 Special Prize, Notojima Glass Art Now Prize of Excellence, Chanoyu-no-Zokei Exhibition, Tanabe Museum (’93) 1998 Special Prize, Osaka Triennale Sculpture 1989 Quasi Grand Prize, 1st Ceramics Biennial ’89 2014 Kyoto Art Culture Prize, Kyoto Chuo Shinkin Bank 1990 Hiroshima Art Grant ’90 Award 2017 Kyoto City Cultural Merit Award, Kyoto City 2000 Bronze Prize, Exhibition of the Sixth Taiwan Golden Ceramics Awards Selected Exhibitions 2001 Kaneshige Toyo Prize, Japan Traditional Art Crafts Chugoku Division 1985 Art Now’85, Hyogo Prefectural Museum of Art, Japan 2003 The anyoS Shimbun Culture Prize Neues Glas aus Japan, Badisches Landesmuseum Karlsurehe, Germany 2005 62nd Chugoku Cultural Prize 2nd Interglass Symposium Novy Bor, Czechoslovakia 2020 Asahi Shimbun Newspaper Prize, 67th Japan Traditional Art Crafts Exhibition 1987 Musee des Arts Decoratifs Lausanne, Switzerland Selected Exhibitions 1992 Contemporary Glass Sculpture, New Jersey Center for Arts, USA 1981 Mitsukoshi Department Store, Nihonbashi, Tokyo, Japan (’87, ’95, ’97, ’99, ’02, ’05, ’08, ’11, ’14, ’17, ’20) Glass from Ancient Crafts to Contemporary Art, The Morris Museum, USA 1996 KIMURA Yoshiro, Gallery Daiichi Arts, New York, USA 1993 Heller Gallery, New York, USA 2008 Design Miami / Basel, Galerie Pierre Marie Giraud, Switzerland (’08, ’09, ’10, ’11, ’12, ’13, ’14, ’15, ’16, ’17, ’18) 1994 Vänersborg Glass Festival, Vänersborg, Sweden 2009 Kimura Yoshiro, Galerie Pierre Marie Giraud, Belgium Habitat Galleries, Pontiac, Michigan, USA Glass and Ceramics Today, L’Arc en Seine, New York, USA 1995 Japanese Studio Crafts, Victoria & Albert Museum, London, UK 2010 Path of Elegance between the East and the West, the Villa Empain, Belgium 1996 The ationalN Museum of Art Osaka, Japan 2012 Giappone Terra Di Incanti, Palazzo Pitti, Florence, Italy 2003 The lassG Vessel, Kentucky Museum of Art and Craft, USA Collect, Saatchi Gallery, London, UK (’15) 2009 Collect, Saatchi Gallery, London, UK (’10, ’11, ’12, ’13, ’14, ’15) Vallauris Ceramics Biennale, France Voices of Contemporary Glass, The Corning Museum of Glass, New York, USA 2014 Art Stage Singapore, Singapore (’16, ’17) 2011 Yufuku Gallery, Tokyo, Japan TEFAF Maastricht, The Netherlands (’15, ’16, ’17, ’18, ’19, ’20, ’21) 2012 SOFA Chicago, USA 2019 Silhouettes of Tomorrow, Yufuku Gallery, London, UK 2013 SOFA Chicago, USA (’14, ’15) 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan 2013 Gallery Nakamura, Kyoto, Japan 2014 Art Stage Singapore, Singapore (’15, ’16, ’17) TEFAF Maastricht, The Netherlands (’15, ’16, ’17, ’18, ’19, ’20, ’21) p.24 Takashimaya Department Store Gallery, Kyoto, Japan Public Collections Asia Week New York, USA Art Miami, USA (’15, ’16, ’17, ’18, ’19) Public Collections National Museum of Modern Art, Tokyo, Japan / Japan Foundation, Japan / Imperial Household Agency, Japan / Jingu 2015 Art Silicon Valley / San Francisco, San Mateo, USA The Metropolitan Museum of Art, USA / Badisches Landesmuseum Karlsruhe, Germany / State Lemberk Chateau Crystalex, Czech Republic / Shrine, Japan / Gifu Museum of Contemporary Ceramic Art, Japan / Hiroshima Prefectural Art Museum, Japan / Higashi- Musée de Design et d'Arts Appliqués Contemporains Lausanne, Switzerland / Museum Boijmans Van Beuningen, The Netherlands / Yokohama Hiroshima Museum of Art, Japan / Hiroshima University, Japan / Okayama Shoka University, Japan / Tanabe Museum of Art, 2016 Spring Masters New York, USA EAF Monaco, Monaco Museum of Art, Japan / Notojima Glass Museum, Japan / Suntory Museum, Japan / The National Museum of Modern Art, Tokyo, Japan / The Japan / Shigaraki Cultural Ceramic Park, Japan / Ibaraki Ceramic Art Museum, Japan / Hasegawa Machiko Museum, Japan p.20 National Museum of Art, Osaka, Japan / Detroit Institute of Arts Museum, USA / Corning Museum of Glass, USA / Cafesjian Center for the Arts, / Faenza Museo Internazionale delle Ceramiche, Italy / Auckland Institute & Museum, New Zealand / Museo Art Nouveau Art Taipei, Taiwan Armenia / Victoria & Albert Museum, UK / Bristol Museum and Art Gallery, UK / Philadelphia Museum of Art, USA / The Ringling Museum of y Art Déco, Spain / Japan-Spain Cultural Center of Salamanca University, Spain / Museu Nacional do Azulejo, Portugal / 2017 Palm Beach M+C, Palm Beach, USA Art, USA / Long Museum, China / The Jupiter Museum of Art, China Victoria & Albert Museum, UK / Musée national de céramique, France / Taipei County Yingge Ceramics Museum, Taiwan / TEFAF New York Spring, USA Art Gallery of New South Wales, Australia / Qatar Visual Art Center, Qatar / World Ceramics Exhibition Foundation, South 2018 Seattle Art Fair, USA (’19) Korea / Auckland Museum, New Zealand / The British Museum, UK 2019 West Bund Art and Design, Shanghai, China (’20) Selected Commission Works Silhouettes of Tomorrow, Yufuku Gallery, London, UK OS Building, Japan / Hiroshima Women's College, Japan / Yao City Gymnasium, Japan / The Japanese Embassy, Vietnam / Tokyo Memorial Park, 2020 Kyoto: Capital of Artistic Imagination, the Metropolitan Museum of Art, New York, USA Japan / The Kobe Shimbun, Japan / The Kobe Shimbun Matsukata Hall, Japan / Pfizer Japan Inc. Nagoya Plant, Japan / NTT DATA, Komaba, Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan Japan / Aoyama Park Tower, Japan / Imabari Funeral Hall, Japan / Hotel Grand Arc Hanzomon, Japan / Palace Hotel Tokyo, Japan / ANA Crown 2021 Art Fair Tokyo, Japan Plaza Hotel Okayama, Japan / The Peninsula Tokyo, Japan / Shima Kanko Hotel Bay Suite, Japan

76 77 SACHI FUJIKAKE “To change an inanimate material into something soft, and to capture its transformation in form. I wish to stop the hands of time and enjoy the beauty that unfolds before me.” “Beyond the edges and silhouettes of my abstract glass lay infinite space, the vicissitudes of life, and a spiritual world of purity.” MASAAKI YONEMOTO 藤掛幸智 米元優曜 About the Artist About the Work About the Artist About the Work New ideas will flow into oceans of unforeseen beauty. Likewise, the works of Sachi Fujikake Fujikake first takes individual sheets of white-coloured glass of 2 different gradations and If the metropolises of the next millennium are futuristic pyramids in glass, Masaaki Appearances can be deceiving. At first glance, Yonemoto’s glass sculptures look as if they (b. 1985 –) boldly defy and transcend the qualities of glass to realms unchartered, warping sandblasts dotted perforations onto their surfaces after fusing the sheets together in a Yonemoto’s (b. 1987 –) skyscrapers would reign bright in the night sky, glistening softly are made from a solid block of carved glass. This is far from truth. In fact, his glass prisms the material into ripples in time and space, tearing at its very fabric to melt it into Dali- glory hole, thereby deepening the holes to heighten and accentuate the shadows that form in their incandescent splendour. Born in Yamaguchi Prefecture and recently moving back are made of up to 15 separate layers of gigantic sheet glass of the highest clarity that are esque objects, surreal yet finite, completely original yet utterly eternal in its rippling on her glass surfaces. After this initial process, Fujikake further attaches 6 sheets within to his birthplace to build his own independent studio, Yonemoto is a young artist, yet his attached one by one through a special ‘photobond’ adhesive that disappears and hardens majesty. Entitled Vestige, her works capture the remains of what is left behind, the beauty her glory hole to form an essentially rectangular shape. After this basic form is created, talent is undisputed. Graduating head of his class at the Kurashiki University of Science and under ultraviolet light. Taking several days to attach each sheet of glass together without of glass as it turns from a hard material into something soft, in many ways capturing the Fujikake incredibly begins to blow the melting glass, thereby helping to warp and expand the Arts in 2010, and further completing his graduate studies at the Toyama City Institute creating air bubbles or leaving impurities in-between the glass, the artist further places preciousness of time itself as its continuum is bent, twisted and expanded into forms the glass in a bubble-like form. Such voluptuous and seemingly impossible curvatures of Glass Art, Yonemoto has received more than 10 major awards in glass in the three years within his glass a magic mirror coating that adds a reflective and infinite quality to his formerly unfathomable. cannot be achieved by the use of sheet glass alone, and it is the combination of various glass since leaving university, and his works embody the great aesthetic potential of glass as a iridescent sculptures. Yonemoto then takes a diamond-head polisher to cut through the techniques – kiln-working, sandblasting, and blowing glass, that eloquently transforms her major sculptural material. edges of the glass, carving only a millimetre at a time to discover the ideal silhouette in The young Fujikake is quickly garnering a following within the world of glass, and has material into an entirely new style of glass for the 21st century. his mind’s eye. This process takes up to two weeks to perform until he can sculpt the glass already been collected by the Alexander Tutsek Foundation in Germany, Kanazawa into a riveting form ‘shorn of excess.’ Next, the artist takes nearly two weeks to polish Utatsuyama Craft Institute, Koganezaki Crystal Park, and the Victoria & Albert Museum the entirety of his glass facades with cerium oxide, ensuring that the work shines without in 2015. Organic and free flowing, crumpled yet inflated, and translucently, lusciously damaging or causing cracks to his distinctive edges. Free-standing and balanced without radiant, Fujikake's works are mesmerising odes to an innovative new style of abstraction in any need of a base, Yonemoto’s seductive glass sculptures point to the future of glass as a glass. The vestiges of light, embraced herein. 1987 Born in Yamaguchi Prefecture, Japan compelling medium for contemporary sculpture. 2010 Kurashiki University of Science and the Arts 1985 Born in Aichi Prefecture, Japan 2012 Toyama Institute of Glass, MFA 2006 Aichi University of Education, MFA 2017 Moves studio from Toyama to Yamaguchi / Lives and works in Yamaguchi 2011 Kanazawa Utatsuyama Craft Workshop / Lives and works in Nagoya Selected Awards Selected Awards 2010 Dean’s Award, Kurashiki University of Science and the Arts 2006 Forever Foundation, Overseas study scholarship 2011 Award of Excellence, Tokyo Midtown Award 2009 Pilchuck Glass School Lino Tagliapietra scholarship Special Award (Second Prize), 4th Contemporary Glass Triennial in Toyama 2010 NHK Kanazawa Director Award, 24th Ishikawa Contemporary Craft Exhibition Head of Board Award, Toyama Chamber of Commerce 2010 Chairman Award, Kanazawa Lacquer Trade Cooperation, Ishikawa Prefectural Design Exhibition Ecchu Art Grand Prize, Ecchu Art Festival 2011 Award of Excellence, Kanazawa Utatsuyama Craft Workshop President Award, The Kitanippon Shimbun Exhibition 2012 Award of Excellence, Takaoka Craft Exhibition 2012 Created the Winners’ Trophy for Tokyo Midtown Award Design & Art Competition Encouragement Award, KOGANEZAKI Contemporary Glass Art Exhibition Award of Excellence (Second Prize), 5th Contemporary Glass Exhibition in Sanyo Onoda Award of Excellence, Kanazawa Utatsuyama Craft Workshop Award of Excellence, Ecchu Art Festival New Glass Review 33 (’13) Toyama Prefectural Artistic and Cultural Association Award Jury Award, Contemporary Glass Art Exhibition in Sanyo Onoda 2013 Selected, Cheongju International Craft Biennale 2013 Honorable Mention, The International Exhibition of Glass Kanazawa Gold Prize, 7th Snow Design Competition 2016 Gold Prize, The International Exhibition of Glass Kanazawa 2014 Grand Prize, Art Fair Toyama Art Award (’16) 2017 Selected, Young Glass 2015 Izak Prize, Art Fair Toyama Art Award 2018 Gold Prize, Toyama International Glass Exhibition Selected Exhibitions Selected, Sanyo Onoda Contemporary Glass Exhibition 2009 4th Contemporary Glass Exhibition in Sanyo Onoda, Yamaguchi, Japan 2019 Finalist, LOEWE Craft Prize Takaoka Crafts Competition, Daiwa Takaoka, Japan Jury Prize, KOGEI World Competition in Kanazawa 2010 3rd Glass Education Network (GEN) Exhibition, Tokyo Metropolitan Art Museum, Japan Selected Exhibitions 2011 Tokyo Midtown Award, Tokyo Midtown, Japan (’12) 2006 Inspire Your Heart Exhibition, Coco Laboratory, Akita, Japan 4th Contemporary Glass Triennial in Toyama, Japan 2007 Duet Gallery APA, Aichi, Japan (’08, ’09, ’10, ’12) 50th Japan Craft Exhibition, Tokyo, Japan December Show, Gallery APA, Aichi, Japan 2012 Roppongi Art Night, Tokyo Midtown, Japan 26th Asahi Craft Art Exhibition, Tokyo, Japan 5th Contemporary Glass Exhibition in Sanyo Onoda, Yamaguchi, Japan 2008 47th Japan Craft Art Exhibition, Tokyo, Japan (’10) 11th Oita Asian Sculpture Exhibition, Japan 2010 Forming Rainbows, Galerie Steine, Nagano, Japan Décor of Summer, Rakusui-tei Museum of Art Exhibition, Toyama, Japan Forms of Tomorrow, Gallery Sou, Kanazawa, Japan Toyama City New Glasswork Acquisition Exhibition, Japan 31 Sensibilities – Kanazawa Utatsuyama Craft Workshop Exhibition, Japan 2013 Collect, Saatchi Gallery, London, UK (’14, ’15) 21st Century Museum of Contemporary Art, Kanazawa, Japan (’11, ’12) SOFA Chicago, USA (’14, ’15) 2011 Art Fair Tokyo, Japan Cheongju International Craft Biennale, South Korea VARIA Nagoya Art Fair, Nagoya, Japan 2014 Art Stage Singapore, Singapore (’15, ’16, ’17) 2012 Takaoka Craft Exhibition, Toyama, Japan Asia Week New York, USA KOGANEZAKI – Vessel Forms – Contemporary Glass Art Exhibition, Shizuoka, Japan TEFAF Maastricht, The Netherlands (’15, ’16, ’17, ’18, ’19, ’20, ’21) Contemporary Glass Art Exhibition in Sanyo Onoda, Yamaguchi, Japan Clark Art Institute Opening Exhibition, Massachusetts, USA HEART to HEART Craft Art Exhibition, Fukui, Japan The eautyB of Materials – Group Exhibition, Galerie Marianne Heller, Germany Art Fair Nagoya, Japan Art Miami, USA (’15, ’16, ’17, ’18, ’19) 2013 TARENTE, Germany 2016 Spring Masters New York, USA p.26 Transfiguration of Glass II, Gallery VOICE, Gifu, Japan EAF Monaco, Monaco The nternationalI Exhibition of Glass Kanazawa, 21st Century Museum of Art, Ishikawa, Japan Art Taipei, Taiwan 2018 Seattle Art Fair, USA (’19) 2014 Collect, Saatchi Gallery, London, UK (’15) 2017 TEFAF New York Spring, USA Toyama International Glass Exhibition, Japan Art Miami, USA (’15, ’16, ’17, ’18, ’19) 2018 Palm Beach Modern + Contemporary, USA 2019 Group Exhibition, LOEWE Craft Prize, Tokyo, Japan 2015 Vestige – Sachi Fujikake Solo Exhibition, Yufuku Gallery, Tokyo, Japan Seattle Art Fair, USA (’19) Group Exhibition, KOGEI Art Fair Kanazawa, Kanazawa, Japan Art Stage Singapore, Singapore (’16, ’17) 2019 Silhouettes of Tomorrow, Yufuku Gallery, London, UK NEW GLASS NOW, The Corning Museum of Glass, New York, USA 2016 TEFAF Maastricht, The Netherlands (’17, ’18, ’19, ’20, ’21) 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan Silhouettes of Tomorrow, Yufuku Gallery, London, UK Spring Masters New York, USA West Bund Art and Design, Shanghai, China 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan EAF Monaco, Monaco 2021 Art Fair Tokyo, Japan 2021 Vestige III, Solo Exhibition of New Work, A Lighthouse called Kanata, Tokyo, Japan Art Taipei, Taiwan 2017 TEFAF New York Spring, USA Public Collections p.28 Group Exhibition – life-world, Alexander Tutsek, Munich, Germany Public Collections Toyama Glass Art Museum, Japan Group Exhibition – Young Glass, Ebeltoft Glass Museum, Denmark Alexander Tutsek Foundation, Germany / Kanazawa Utatsuyama Craft Workshop, Japan / Koganezaki Crystal Park, Japan / Victoria & Tokyo Midtown, Japan Vestige II – New Glass Works by Sachi Fujikake, Yufuku Gallery, Tokyo, Japan Albert Museum, UK / Glasmuseum Lette, Germany / Toyama Glass Museum, Japan / Corning Museum of Glass, USA Nakaya Ukichiro Museum of Snow and Ice, Japan 78 79 HIDENORI TSUMORI “To express the passing of time through the fossilisation of glass, to transform the inorganic into the organic...” “When touching glass softened by fire, I feel as if I’m embracing something dear to me, in search of a gentle softness that can only be found through the light of natural flame.” YOKO TOGASHI 津守秀憲 冨樫葉子 About the Artist About the Work About the Artist About the Work To capture the rivers of time flowing into oceans vast, the ephemeral fragments of memories Using an ingeniously original technique of firing glass together with clay, Tsumori creates Yoko Togashi’s (b. 1973 –) sculptures in blown, kiln-worked glass, no matter the form, “Spiral” is Togashi’s latest body of work that captures the beauty of interiors and exteriors borne and the tenderness of lives lost, to limn the raw power of nature and clasp in one’s his signature series “Remnants Of” captures the beautiful fragility of time as it passes and point toward a beauty that is at once viscerally striking, yet are consistently imbued with as they energetically spiral into the never-ending circle of life itself. Incorporating the hand the epic struggle between life and death; such thematic elements strike at the elegiac fades, of representing the memories of what is left behind within the sheer ephemeral nature a poignant gentleness that encapsulates the nature of the artist herself. Her pieces do medieval techniques of Filigrana in Venetian glass, the pieces in this series are comprised of core of Hidenori Tsumori's (b. 1986 –) glass sculptures, encompassing the fragile remains of man in the context of nature. The sculpture is made by first taking multiple conical not sparkle with radiance but glow softly, and her forms portray the beauty of glass that multiple glass canes that are placed on a steel table and attached on a blow pipe in a tubular of the day that have melted into sombre yet powerful memories in glass and clay. Like the plaster casts of varying sizes and places them upside down. After literally puttying his quietly melt away in their own silent poetry. Togashi, in fact, began her artistic debut in position. Then, the glass is blown into a spiral-like state, where the glass is transformed turning of the seasons and the eternal rise and fall of the sun and moon, the passing of original concoction of glass and clay onto these conical forms, Tsumori connects the cones oil painting, having trained and debuted as a painter in the early stages of her career; it is into a solid piece of glass resembling a bowl. Taking two of these bowl-like forms, Togashi time embodies the inevitable cycle of life that dictates the human existence, and Tsumori's together with his unique material, and then arranges the cones by height within his electric because of this background that Togashi is able to wield glass as if she is holding a brush, heats and attaches them together into a singular circular body, and then the work is cold- solemn sculptures represent the remnants of what has passed and what (or perhaps who?) is kiln using fire-resistant blocks. After firing, the artist pulls the object from the kiln and quite literally painting the beauty within her mind’s eye onto not canvas but into the worked by incising its centre with a slit that allows for the blow pipe to be reinserted into left behind in stark, poignant detail. removes the plaster, thereby leaving behind the remains of glass and clay in all its elegiac malleable forms of heated glass. Using the Filigrana techniques associated with Venetian the body. After re-heating the work in an electric kiln, the blow pipe is reattached to the splendour. Firing two opposing materials together into a single entity is a revolutionary and glassmaking, Togashi strives to capture the beauty of glass as not a solid state but a fluid one glass, and the work is then blown and spun, using centrifugal force to rotate and form the Where does glass end and clay begin? And perhaps a more vexing question: where does innovative progression of material that allows Tsumori to realise the creation of sculptural that is in constant flux, expressing the delicate, soft, and forever-changing nature of glass as glass into its magnetic, spiral-like shape. Lastly, the glass is cut and polished with a water life end and death begin? Who or what draws the divide between these two fundamentally beauty unachievable by any other means. it is blown and worked in a kiln. grinder, thereby completing the signature riveting silhouettes of Togashi’s latest series Spiral. different states of nature? A juxtaposition of seemingly antagonistic realms often reveal that To capture the translucent beauty of glass as it melts and forms in ways not possible in things are usually two sides of the same coin. And what lies beyond Tsumori’s tundra-esque Already a part of multiple public collections and projects such as the Toyama Glass Art other materials, Togashi’s elegant and gentle sculptures are slowly but surely emerging from landscapes? With a rising recognition within both realms of glass and ceramics, evidenced Museum, while also receiving several notable awards in both Japan and abroad, TEFAF slumber and into the consciousness of critics and collectors alike. by his fast-growing number of public collections and awards, Tsumori’s glass sculptures Maastricht 2021 marks Togashi’s first foray into the art fair scene, while her work “Spiral” acting as receptacles that catch both the life energies of Eros and that of Thanatos, the also marks its debut in the international market. physical acquiesces to the metaphysical, and we discover a new way of shattering our very preconceptions through the unexpected marriage between glass and clay.

1986 Born in Tokyo, Japan 2012 Tama Art University 2014 Toyama Institute of Glass, MFA 2017 Kanazawa Utatsuyama Craft Workshop / Lives and works in Tokyo 1973 Born in Tsuruoka City, Yamagata Prefecture, Japan 1997 Musashino Art University Selected Awards 1999 Toyama Institute of Glass 2011 Selected, 47th Kanagawa Prefecture Art Exhibition Lives and works in Kanagawa 2013 Selected, Echuu Art Festa Award of Excellence, Northern Japan Newspaper Prize Selected Awards 2014 Award of Excellence, Toyama City Institute of Glass Art Graduation Exhibition 1998 Selected, New Glass Review 19, 26, 36, 37 (’05, ’15, ’16) Selected, 29th Ishikawa of Contemporary Art Craft Exhibition Selected, Contemporary Glass in Satsuma Exhibition, Kagoshima, Japan 2015 Hokkoku Newspaper President's Prize, 71st Kanazawa Art Craft Exhibition 2002 Emerging Artist Award, Hokuriku Glass Exhibition, Kanaz Forest of Creation Miwa Jury Prize, 6th Sanyo Onoda Contemporary Glass Art Exhibition 2003 Nominee, Corning Foundation Award, USA Selected, Meyer × Shigaraki Award Japan Ceramics Now – Tradition and Innovation Exhibition 2009 Chido Museum Award, Hakuosha Exhibition, Yamagata, Japan TV Kanazawa President's Prize, 30th Ishikawa Contemporary Art Craft Exhibition 2011 Selected, Japan Crafts Exhibition Selected, Japan Glass Art Exhibition 2012 Selected, The 5th Contemporary Glass Art Exhibition in Sanyo-Onoda, Yamaguchi, Japan Selected, Takaoka City Art Craft Competition Shigezaburo Imai Award, Hakuosha Exhibition, Yamagata, Japan 2016 Silver Prize, The International Exhibition of Glass Kanazawa 2014 Glass 1st Prize, EWAAC Exhibition, La Galleria Pall Mall, London, United Kingdom Selected, Kanazawa Utatsuyama Craft Workshop Shonai Nippo Press Award, Hakuosha Exhibition, Yamagata, Japan 2017 Prize: Special Recognition Award by Ronald T. Labaco, 3rd Triennale of Kogei in Kanazawa 2015 Tsuruoka City Board of Education Award, Hakuosha Exhibition, Yamagata, Japan Mayor’s Prize, 73rd Kanazawa Craft Council Glass Land Award, Glass ’15 in Japan Exhibition, Tokyo, Japan Selected, International Ceramics Festival Mino Selected Exhibitions 2018 Silver Prize, Toyama International Glass Exhibition 2018 1999 Graduation Exhibition, Toyama Institute of Glass Art, Toyama, Japan Kuroki Prize, Glass ’18 in Japan p.32 2000 10th Anniversary Exhibition, Toyama Institute of Glass Art, Toyama, Japan 2019 Grand Prize, International Exhibition of Glass Kanazawa 2019 2001 The Allure of Glass, Himeji City Museum, Hyogo, Japan Selected Exhibitions TOYAMA GLASS-ONE 2001, Toyama Shimin Plaza, Toyama, Japan 2012 Art in Life Exhibition, Mitsukoshi Department Store, Tokyo, Japan 2006 Glass Appeal 2006, Meguro Museum of Art, Tokyo, Japan 2013 Glass × Glass × Glass, Takamura Gyujin Memorial Museum of Art, Toyama, Japan Tokyo University of the Arts Glass Course Exhibition, The University Art Museum, Tokyo, Japan p.30 Glass Story, Milestone Art Works, Toyama, Japan 2007 ALLURE OF JAPANESE GLASS, Pittsburgh Glass Center, USA Science Room, Kanka Gallery, Toyama, Japan 2013 The eelingF of Glass, Gallery YUNOR, Tokyo, Japan 2014 7th Glass Educational Institutions Joint Exhibition (GEN Exhibition), Tokyo Metropolitan Art Museum, Japan Hide and Seek in Light, Yosuke Miyao and Yoko Togashi Glass Art Exhibition, Fairywood Glass Museum, Okayama, Japan 29th Contemporary Craft Art Exhibition, 21st Century Museum of Contemporary Art Kanazawa, Ishikawa, Japan 2018 Seattle Art Fair, USA (’19) 2015 Daikanyama Glass Art Fair 2015 “Speak for Space”, Tokyo, Japan Solo exhibition, Gallery Q, Tokyo, Japan Toyama International Glass Exhibition, Japan 2020 The Landscapes of emory,M Ginza TANAGOKORO, Tokyo, Japan 2015 SOFA Chicago, USA Glass Artists from Hokuriku Diversifying Glass Art, Toyama Glass Art Museum, Toyama, Japan Glass Wonderland, Tokyo University of the Arts Glass Course Exhibition, Geidai Art Plaza, Tokyo, Japan Space-Time Exhibition, Art For Thought, Tokyo, Japan Yufuku Pop-Up in NYC, New York, USA 2021 TEFAF Maastricht, The Netherlands Utatsuyama of Form Exhibition, 21st Century Museum of Contemporary Art Kanazawa, Ishikawa, Japan 2019 International Exhibition of Glass Kanazawa, Japan Art Fair Tokyo, Japan (’16, ’17) Silhouettes of Tomorrow, Yufuku Gallery, London, UK Paris, Nobody Knows – Paris do not know anyone, ELEKTROKARDIOGRAMM, Japan 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan Tama Art University 80th Anniversary Exhibition, Japan West Bund Art and Design, Shanghai, China Public Collections The ormF of Vestiges – Solo Exhibition, Ishikawa, Japan 2021 Falling into You – Solo Exhibition, A Lighthouse called Kanata, Tokyo, Japan Toyama Glass Art Museum, Japan / Naritasan Kawagoe Betsuin Temple, Japan 2016 Art Stage Singapore, Singapore (’17) Spring Masters New York, USA Selected Commission Works EAF Monaco, Monaco Public Collections The Capitol Hotel Tokyu, Japan / Teikyo University Hospital Mizonokuchi, Japan / Stanley Electric Co., Ltd, Japan / Art Taipei, Taiwan Toyama Institute of Glass Art, Japan / Museum of World War II, USA / Notojima Glass Art Museum, Japan / Cerulean Tower Tokyu Hotel, Japan / Shimada Municipal Hospital, Japan / Kyukan Jotenji-dori Avenue Building, Japan Art Miami, USA (’17, ’18, ’19) Kanazawa Utatsuyama Craft Workshop, Japan / The Horvitz Collection, USA Remains of the Day – Solo Exhibition, Yufuku Gallery, Tokyo, Japan

2017 TEFAF Maastricht, The Netherlands (’18, ’19, ’20, ’21) Selected Commission Works TEFAF New York Spring, USA JAL Fukuoka Airport, Japan / Four Seasons Hotel Seoul, South Korea Notojima Glass Collection "New Acquisitions: Forms of Glass", Notojima Glass Art Museum, Ishikawa, Japan p.33

80 81 TAKAFUMI ASAKURA “My fountain of inspiration flows from the material that is black ink.” “To be one with nature…such is the starting point of my paintings. Yet perhaps this is but the act of living life itself.” KENTARO SATO 朝倉隆文 佐藤健太郎 About the Artist About the Work About the Artist About the Work Takafumi Asakura (b. 1978 –) pours into his poetry in ink a zeitgeist for the 21st century, The artist’s lyricism stems from his ability to juxtapose the traditional with the progressive, With evocative paintings that call to mind the luscious colours of Rothko, yet at the same Sato is unique in that he focuses predominantly on the ancient technique of “tarashikomi”, displaying technical virtuosity whilst experimenting with abstraction and the avant- with the ancient material that is black ink painted upon the most contemporary of time imbuing them with the intellectually dark timbre of Richter, the abstract canvases of a medieval technique of blotting powdered minerals with water ,devised by the legendary garde, wielding but a single type of ink and brush to paint the most intricate of Nihonga- materials that is aluminum leaf, and with calligraphy providing the figurative backdrop the young Kentaro Sato (b. 1990 –) awaken emphatic memories of nature and the inner Momoyama painter Tawaraya Sotatsu (b. 1570 – d. 1640). Often used for accentuating style paintings. Negative space is filled entirely with ancient calligraphy, whilst beacons of for the metaphysical incarnations of the gods in abstraction. For his latest work “The spirit. The genre of Nihonga (Japanese painting using natural pigments and minerals) in certain colours or motifs within figurative compositions, it is rarely, if not ever, used within spiralling ink swirl and coalesce into mythical beasts, Shinto gods, and elements of nature. Transcendence of the Primordial Heavens”, Asakura captures the God of the Storm in all which he works in is an oft-archaic medium that has been unable to move on from the the entirety of a painting as its immediate subject. Instead, Sato takes this technique and Yet intricacy and technique are ancillary to whether an artist has the power to paint works his ebullient energies that have been captured in flowing, roaring abstraction, with the giants of the 20th century, with the majority of artists stuck in the quagmires of a staid uses it as his muse, thereby creating soaring, abstract expressionist landscapes of the night that spellbind, enthrall, enrapture. Indeed, Asakura’s meticulous paintings are mesmerising artist’s trademark calligraphy filling the negative space with text taken word for word from conservatism dating back from the Bubble Economy of the 80’s, or simply creating works sky and the heavens above in luscious blacks, blues, greens and reds from various natural poems rooted in Shinto scripture and the movements within his own soul, possessing the an ancient 8th century Japanese book on Shinto mythology, the Kojiki. As with the best with subject matter and compositions of a plastic realism that are difficult to distinguish stones and minerals that have been ground into powder form. With serenely enigmatic power to stop viewers in their tracks by the visceral strength of his brushstrokes interspersed of Asakura's paintings, there lies within an enthralling and potent danger, an utter and from Western oil painting. colours that help ignite the imagination and evoke visceral feelings of an innate, sublime with copious, painstaking detail. immediate urgency of mythic proportions that is at once epic and visceral, poignantly world within, Sato’s works are far removed from the refined, figurative and detailed works capturing the above and beyond. It is within this context that one can see an emergence of a new generation of Nihonga traditionally associated with Japanese painting. Instead, the artist creates atmospheric One of the youngest painters to become a juror at the Nitten Japan Fine Arts Exhibition, artists who have pushed the genre in a new direction, garnering prominence and paintings that are heightened by the natural beauty within his raw materials, in particular Takafumi Asakura’s story has only just begun, with works already acquired by 8 public recognition within the eyes of Western collections by focusing on paintings that are filled the blues derived from Lapis Lazuli, the whites from seashell powder, and the greens collections in both Japan and the United States, and with a growing recognition in artistic with intriguing subject matter never before featured in Nihonga, while using techniques from malachite and copper oxide. While controlling the movements of his pigments that circles the world over. and motifs that brim with progressive innovation. Sato is one such youthful artist who is flow over his Japanese washi paper, Sato creates a soaring inner world of Nihonga that is helping to propel Nihonga into vistas previously unseen, creating works that are painted unquestionably his own. using the oft-forgotten technique of “tarashikomi”, or pouring ink in layers over a canvas or screen. The resulting paintings are inner landscapes that call to mind the traditions of Western abstract expressionism, yet with a uniquely Japanese aesthetic.

1978 Born in Yokohama, Kanagawa Prefecture, Japan 2002 Tama Art University, MFA Lives and works in Yokohama

Selected Awards 2002 Nitten Japan Fine Arts Exhibition (selected every year since) 1990 Born in Miyagi Prefecture, Japan 2003 Nisshun Fine Arts Exhibition (’04, ’05, ’06, ’07, ’08, ’09, ’10, ’11, ’12, ’13, ’14, ’15, ’16, ’17, ’18) 2015 Tama Art University, MFA / Lives and works in Miyagi

2010 Special Selection Award, Nitten Japan Fine Arts Exhibition (’12) Selected Awards 2013 Work awarded Special Selection, Nisshun Fine Arts Exhibition 2015 Scholarship of Merit, Sato International Cultural Scholarship Foundation 2015 Juror, Nitten Japan Fine Arts Exhibition Scholarship of Merit, Kamiyama Foundation Selected Exhibitions 2017 Scholarship of Merit, Tama Art University 2003 Shirota Gallery, Tokyo, Japan Selected, Next Art Exhibition, The Asahi Shimbun Social Welfare Organization, Japan 2010 Yufuku Gallery, Tokyo, Japan (’11, ’12) Chairman’s Award, 3rd Annual Kamiyama Foundation Prize 2012 Art Fair Tokyo, Japan (’13, ’21) 2019 Miyagi Prefecture Art Society Award, Painting Section, Miyagi Prefectural Art Festival, Japan Takashimaya Department Store, Tokyo, Japan 2020 Selected, 9th Artist Group – Wind – Exhibition, Tokyo 2013 Collect, London, UK (’14, ’15) Exhibition Grant, The Yoshino Gypsum Art Foundation

TEFAF Maastricht, The Netherlands (’14, ’15, ’16, ’17, ’18, ’19, ’20, ’21) Slected Exhibitions 2014 Art Stage Singapore, Singapore (’15, ’16, ’17) 2013 Group Exhibition, Ginza Mitsukoshi Department Store, Tokyo, Japan Asia Week New York, USA Group Exhibition, Gallery Q, Tokyo, Japan (’14, ’15, ’16 ’19) Resonances, Galerie Pierre Bonnefille, Paris, France 2014 Group Exhibition, Itochu Aoyama Art square, Tokyo, Japan (’15, ’16) Art Miami, USA (’15, ’16, ’17, ’18, ’19) YW Gallery, Tokyo, Japan 2016 Spring Masters New York, USA Tower Hall Funabashi, Tokyo, Japan EAF Monaco, Monaco 2015 Kentaro Sato Solo Exhibition, Gallery Q, Tokyo, Japan Art Taipei, Taiwan Group Exhibition, Isetan Shinjuku Department Store, Tokyo, Japan (’16) 2017 TEFAF New York Spring, USA Group Exhibition, The National Art Center, Tokyo, Japan Of Legends and Lore – Japanese Ink Paintings by Takafumi Asakura, Serindia Gallery, Bangkok, Thailand Group Exhibition, Jinen Gallery, Tokyo, Japan 2018 Seattle Art Fair, USA (’19) Group Exhibition, GALLERY ARTPOINT, Tokyo, Japan Takafumi Asakura, Taimei Gallery, Tokyo, Japan Ginza Surugadai Gallery, Tokyo, Japan (’20) 2019 Nihonga Now, Masterpiece London, London, UK Gallery Art Point, Tokyo, Japan West Bund Art and Design, Shanghai, China (’20) Hakkendo Gallery, Tokyo, Japan 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan 2016 Kentaro Sato Solo Exhibition, Art Space 88, Tokyo, Japan Group Exhibition, FEI ART MUSEUM YOKOHAMA, Japan Public Collections The atoS Museum of Art, Tokyo, Japan Spencer Museum of Art – University of Kansas, Lawrence, Kansas, USA / The Frances Lehman Loeb Art Centre – 2017 Circulating Water, Place to Return, galleria grafica bis, Tokyo, Japan Vassar College, Poughkeepsie, NY, USA / Minneapolis Institute of Art, Minnesota, USA / The Kennedy Theatre, Art Miami, USA (’19) University of Hawaii, Honolulu, USA / Okamura Tenmangu Shrine, Yokohama, Japan / Osannomiya Hie Shrine, p.36 V Bienal de Art Maison Japón 2017, Círculo de Bellas Artes, Madrid, Spain Yokohama, Japan / Takaoten Shrine, Hachioji, Japan / Jujusan Asakawa Kotohira Daigongen Shrine, Hachioji, Kamiyama Foundation Exhibition, Ginza Art Hall, Tokyo, Japan Japan 2018 TEFAF Maastricht, The Netherlands (’19, ’20, ’21) Palm Beach Modern + Contemporary, USA p.38 Selected Commission Works Galleria Grafica Tokio, Japan Seattle Art Fair, USA (’19) Hotel The Mitsui Kyoto, Japan 2019 Nihonga Now, Masterpiece London, London, UK Hibiki, Alumni Selection Exhibition, Tama University of the Arts, Tokyo, Japan (’20) West Bund Art and Design, Shanghai, China (’20) Public Collections 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan The Kamiyama Foundation, Yokohama, Japan 9th Artist Group – Wind – Exhibition, Tokyo, Japan 2021 Kentaro Sato Solo Exhibition, Art Space RASHINBAN, Tokyo, Japan 9th Artist Group – Wind – small works Exhibition, Tokyo, Japan Selected Commission Works Art Fair Tokyo, Japan Four Seasons Hotel Tokyo at Otemachi, Japan

82 83 AYANE MIKAGI “Like writing a diary, my paintings turn the subconscious into consciousness, deeply entwined with memories lived and emotions revealed.” “Like Tohaku, to paint or not to paint what can or cannot be seen.” MASANORI MAEDA 三鑰彩音 前田正憲 About the Artist About the Work About the Artist About the Work Storied traditions in the indigenous type of Japanese painting called Nihonga, placing Using natural ingredients such as the grinded powder of precious stones, minerals and The use of black ink to express the seasons and the passing of time is one of traditional Maeda’s painting entitled “both forgotten / light” for TEFAF 2021 is inspired by the emphasis on uniquely Japanese materials, techniques and conventions, have thrived in seashells, the polychromatic ‘paints’ used in Nihonga are the elements found in nature, Japanese painting’s major characteristics, and in comparison to acrylic or oil-based abstract pine trees of the legendary medieval Japanese painter Hasegawa Tohaku, his Japan for nearly 1,000 years, and continues into the present. Yet its present incarnation is and are commonly applied to traditionally hand-made Japanese paper or silk using a form painting materials, it is often said that traditional Japanese pigments and inks are not only brushstrokes revealing hints of tension that leave behind a sparse emptiness that fills often mired in the idolization of Western materials and subject matter, and the differences of hide glue. Likewise, Ayane Mikagi’s “Flowers in the Mist” is a tour de force of colour, complex, but are notoriously difficult to use effectively for abstraction. It is this complexity an ominous, looming presence of what lies beyond. To paint or not to paint what can between Western oil painting and Nihonga have been greatly convoluted, with an inability the exotic mysticism of the Japanese wisteria in full bloom, radiant and epic in its moonlit which gives the genre called Nihonga its captivating allure, and an emerging school of and cannot be seen – it is this duality of Tohaku that Japanese painter Masanori Maeda to distinguish one from another. It is within this context that the emergence of Ayane glow. In fact, Mikagi was inspired by an actual field of wisteria that she had long cherished, contemporary Japanese painters are bringing this centuries-old tradition, previously endeavours to capture, while also being inspired by the simple forms and strokes of Mikagi (b. 1988 –), one of the brightest young painters of Nihonga, can be understood, yet upon recently visiting the site, to her great dismay had found that the flowers had leaning heavily on figurative motifs, into the 21st century with bold colours and striking the Mono-ha movement of the 1980’s. “both forgotten / light” originally refers to the who, along with her contemporaries, are trying to create a new wave of Japanese painting been culled and the garden destroyed. As a nostalgic paean to the garden she once loved, abstractions. juxtaposition between life and death, pain and happiness, and other elements that, once for the 21st century, with an exhilarating zeitgeist focusing on traditional Japanese Mikagi painted this large work all through her mind’s eye, an impressionistic ode that is an forgotten, can lead one to another state of existence that transcends the 2-dimensional, techniques yet placing emphasis on innovative methods of abstraction never before featured intentional turn away from the figurative realism prevalent within contemporary Japanese The prestigious Tokyo University of the Arts is universally acknowledged as the most to a realm of serenity and utter calm and “emptiness.” Yet what is different between this or focused within the medium. painting today. It is a sea of flowers that are warm, lush, and comforting, much like the difficult of art universities to be accepted to in Japan, with acceptance rates in the single latest work and his previous “both forgotten” paintings is the re-introduction of the memories that stay with us, glowing softly in peace and serenity. digits and glittering alumni that essentially comprises the modern art history of Japan figurative within Maeda’s work, in particular an emphasis on natural landscapes and the Winning a slew of awards since 2012 and already placed in three public collections in since the Meiji Period. It is from this institution that Nihonga painter Masanori Maeda (b. rising sun. Indeed, the two-tone colour scheme, with a depth of complex colour within Japan, Mikagi’s paintings are at once evocative, luscious and emphatic, and are most often 1964 –) graduated as Head of the Class by receiving the Ataka Prize, which often propels each brushstroke, represents the dark sea with overcast clouds at the break of dawn, the idyllic landscapes of nature, controlled and painted carefully in layered emotion. Yet it is artists on a well-oiled path to stardom. This was not the case for Maeda. With exceptional sun peering from the horizon representing a new day, a new hope, and a moment to her floral paintings that have garnered attention for blurring the lines between the purely technique yet without a clear conception of what he wished to express through painting, reflect away from the troubles of the past. Maeda’s romantic idealism has been realised in figurative and the abstract, and lead to kaleidoscopes of colour that pop, impress and melt Maeda soon drifted to obscurity. Yet in the past few years Maeda has reemerged with a full, representing thus an emergence of a new approach to Japanese painting for the 21st into techni-colored fantasia. focus on abstraction, a style of painting that he had always wished to paint, inspired by the century. simplicity and naturalism of the Mono-ha movement.

1988 Born in Kanagawa Prefecture, Japan 2015 Tama Art University, MFA / Lives and works in Tokyo

Selected Awards 2012 Award of Excellence, The 23rd Garyuzakura Japanese Painting Exhibition Grand Prize, The 12th Sato Taisei Art Exhibition 2013 Award of Excellence, JASSO Students of the Year 2014 Selected, The 16th etsuryosha-FirenzeS Prize Exhibition 1964 Born in Miyazaki Prefecture, Japan Selected, The 50th Kanagawa Art Exhibition 1991 Tokyo University of the Arts, BA / Lives and works in Ibaraki

Selected, The 25th itsubishiM Corporation Art Gate Program Selected Awards 2015 The 25th Sato nternationalI Cultural Foundation Scholarship 1990 Ataka Prize, Tokyo University of the Arts The 2nd Kamiyama Foundation Art Support Program Scholarship 1991 Second Prize, Chicago International Art Competition, USA Selected, Shinsei Art Exhibition Third Prize, Firan Award Selected, The 20th apanJ Arts Foundation Scholarship Program 2016 Award of Excellence, “FACE 2016” Sompo Japan Nipponkoa Art Award Exhibition Selected Exhibitions Selected, The 34th Ueno oyalR Museum Art Exhibition 1993 Lespoir Solo Exhibition, Surugadai Gallery, Tokyo, Japan Selected, “Seed” Yamatane Museum Japanese Painting Award Solo Exhibition, Nozaki Museum, Tokyo, Japan 2019 Selected, The 21st etsuryosha-FirenzeS Prize Exhibition 2007 Toride Art Project, Ibaraki, Japan (’08) 2009 Unseen, Wada Gallery, Tokyo, Japan Selected Exhibitions 2011 After Life, Wada Gallery, Tokyo, Japan 2012 The 23rd aryuzakuraG Japanese Painting Grand Prize Exhibition, The Museum of Fine Arts Gifu, Japan 2013 The Other Side: ouldust,S Wada Gallery, Tokyo, Japan The 1st Mirai-no-Shukakusai “The Harvest Festival of the future”, Gifu, Japan 2014 Gardenscape, Wada Gallery, Tokyo, Japan 2013 The 12th SatoTaisei Prize Art Exhibition, Aichi, Japan 2015 TAKAMAGAHARA, Shibata Etsuko Art Gallery, Tokyo, Japan 2014 Art Aoi Iwami, Art Universities Scholarship Exhibition of Japanese Paintings, Japan Elegant Simplicity, Amu Gallery, Tokyo, Japan (’16) The 16th Setsuryosha-Firenze Prize Exhibition, Tokyo Metropolitan Art Museum, Japan 2016 Waters of March, Shibata Etsuko Art Gallery, Tokyo, Japan The 50th Kanagawa Art xhibition,E Japan Solo Exhibition at SEIBU, Ibaraki, Japan 2015 Solo Debut, Fujiya Gallery, Tokyo, Japan 2018 Both Forgotten, Shibata Etsuko Art Gallery, Tokyo, Japan Joint Graduation Exhibition of 5 Art Universities, The National Art Center Tokyo, Japan (’17) Both Forgotten #2, Jun Gallery, Tokyo, Japan 50 FACES, Reijinsha Gallery, Tokyo, Japan Art Miami, USA (’19) Soleil, Surugadai Gallery, Tokyo, Japan 2019 TEFAF Maastricht, The Netherlands (’20, ’21) Shinsei Art Exhibition, Shinseido Gallery, Tokyo, Japan Seattle Art Fair, USA INTRO4, Exhibition of Younger Generation Artists-selected by Fuyuhiko Yamamoto, Tokyo, Japan Nihonga Now, Masterpiece London, London, UK Shibuya Style vol.9, Tokyo, Japan West Bund Art and Design, Shanghai, China (’20) The 22nd Sesshu nternationalI Art Society Exhibition, Tokyo, Japan p.40 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan Ayane Mikagi, – faraway –, Art Space 88, Tokyo, Japan 2021 Art Fair Tokyo, Japan 2016 Roppongi Art Week, Tokyo, Japan Tama Art University Research Associate Exhibition, Tokyo, Japan FACE 2016, Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, Japan Arte de Noir, Seibu Shibuya Department Store, Tokyo, Japan Public Collections The 3rd “Hi no Kai” Exhibition, Inoue Gallery, Tokyo, Japan 2019 Ayane Mikagi Solo Exhibition – jamais vu –, Seibu Shibuya Art Gallery, Tokyo, Japan Ryumon Temple Collection Tokyo, Japan Binan-ga Exhibition, Gallery Tomo, Tokyo, Japan Nihonga Now, Masterpiece London, London, UK Tokyo University of the Arts, Japan EAF Monaco, Monaco The ayW of Paintings 2019, Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, Japan Art Taipei, Taiwan The 21st Setsuryosha-Firenze Prize Exhibition, Setsuryosha Meuseum of Art / Tokyo Metropolitan Art Museum, Japan Art Miami, USA (’17, ’18, ’19) 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan 2017 TEFAF Maastricht, The Netherlands (’18, ’19, ’20, ’21) Victory Bouquet Exhibition, Sato Museum of Art, Tokyo, Japan Group Exhibition, Ginza Art Hall, Tokyo, Japan Group Exhibition, Silkland Gallery, Tokyo, Japan p.42 The Sound that eeps,S Art Space Rashinban, Kyobashi, Tokyo, Japan nine colors XIV, Seibu Shibuya Art Gallery, Tokyo, Japan The Sound ofWings, KURUM’ART / space2, Nihonbashi, Tokyo, Japan Ayane Mikagi Solo Exhibition – Permanent Key –, Court Gallery Kunitachi, Tokyo, Japan Growing Wings, Ayane Mikagi, Gallery Tomo, Tokyo, Japan 2021 Art Fair Tokyo, Japan 2018 Seattle Art Fair, USA Group Exhibition, Sato Sakura Museum, Tokyo, Japan Public Collections Group Exhibition, Silkland Gallery, Tokyo, Japan Takayama City, Gifu, Japan / Fukuchiyama City, Kyoto, Japan / Sato Sakura Museum, Tokyo, Japan The 5th Future Exhibition, Galerie Nichido, Tokyo, Japan 84 85 KIYO HASEGAWA “By travelling the landscapes of memory, I wish to express the deific presence of nature.” “With each brushstroke, I wish to capture the emotions that arise from the psychological space between us.” MASAKI TANIKAWA 長谷川幾与 谷川将樹 About the Artist About the Work About the Artist About the Work Cascading colours coalesce, drip and unite within the atmospheric movements of Kiyo The atmospheric qualities within negative space and what lies within and beyond are Masaki Tanikawa (b. 1984 –) is known for his evocative Nihonga paintings of animals in Entitled in French as “le silence de l’espoir” (The Silence of Hope), the scene captured Hasegawa’s paintings (b. 1984 –), creating an aesthetically complex inner world brimming Hasegawa’s thematic muses, and what is left to the imagination within her paintings is the flesh, the raw power of beasts both real and imaginary that ripple and flow with primal by Tanikawa for his first painting for TEFAF is a head of a white tiger bowed down, the between tension, flux, harmony and serenity. Using the traditional materials of Nihonga both mystic, divine and poignant. The minimal simplicity of her compositions masks her tension and flux. In his paintings, one can almost hear the footsteps of nature, the silent backdrop the darkest blue of midnight, a silence hanging over the animal as it contemplates such as black ink and handmade paper, Hasegawa captures the movements of the heart, strongest attribute: the ability to express the aesthetics of “yohaku”, or the space between breath of an animal before it is about to pounce, the space between predator and prey, of its next move. Who or what is the tiger waiting for with bated breath, and perhaps more pouring within her pigments the raw beauty of nature as seen not only from her eyes things. Indeed, it is the silence found within her negative spaces which heighten and two lives that are about to collide in an epic struggle of victor and vanquished, conqueror intriguingly, what lies beyond the captured space itself? For Tanikawa, animals are often but brimming from an imaginary world within, with paintings viscerally pulling at the accentuate her Nihonga works to epic proportions. and conquered. In this light, it becomes clearly evident that Tanikawa’s thematic vision is personified into symbolic extensions of the artist, and one cannot help but wonder what strings of human empathy through the vicissitudes of life itself. With nature as her muse, far from mere idealism of the figurative; instead, his animals are symbolic receptacles that Tanikawa himself is waiting for. The tiger appears calm, quiet, serene, but Tanikawa excels Hasegawa boldly paints the luscious landscapes of abstraction that she finds within. It is Similarly, ‘l’effervescence’ is a six-panel painting on gold leaf that calls to mind the capture the elemental space between things, or rather, between two persons, in particular in also capturing movement through still objects simply by his ability to move his brush in the juxtaposition of the elemental and the contrasts between opposing forces, whether it be conjuration of six holy saints, their presence omnipotent, lingering, yet intangible. The between the artist and the opposing viewer. It is the human psyche and the gulf between animated touches, perhaps most evident within the fluidity of the black stripes that line the movement within tranquillity, strength versus softness, or the beauty of night as opposed to name of the work is taken from the scientific escape of gas from a liquid, and the same can persons that fascinate Tanikawa, and by painting the psychological space between us tiger’s body. Using the traditional materials of Japanese Nihonga painting such as seashell daylight, that feature prominently in her imaginary mindscapes, creating compelling visual be said for the subject matter representing the emergence of a spirit that cannot be seen through animal representations, the artist allows for us to take a step back and view each powder for the whites, charcoal ink for his blacks, and lapis for the richly dark blues, the tapestries that pulsate with rugged emotion. or felt. Instead, it is the atmosphere that surrounds these sacred bodies that is paramount, scene as an allegory for mankind, of understanding how we are and who we wish to be space between things is captured in moments like these, and the metaphoric landscapes and what is left to the imagination is both mystic, divine and poignant, accentuated by through the eyes of nature that is devoid of man. of the mind are what Tanikawa grasps so well through his beautifully enigmatic wildlife One of the more recent additions to Kanata’s growing roster of Japanese painters, Hasegawa the beauty of her gold leaf. In fact, this painting the first time that Hasegawa has used muses. In the silence of anticipation, the morning light of hope awaits. has quickly become one of the standout stars on the international art fair circuit, with sold- gold leaf within her paintings, and immediately, one is struck by the painting’s semblance Continuing the storied tradition within Japanese painting of depicting animals as out works at each and every turn since her debut at Masterpiece London in 2019. in composition to the famed “Kaki-Tsubata Screen of Irises” by the legendary Edo Period represented by the legendary Edo Period painters Maruyama Okyo (b. 1733 – d. 1795) or painter Ogata Korin (b. 1658 – d. 1716), of which Hasegawa derives her inspiration from. Ito Jakuchu (b. 1716 – d. 1800), Tanikawa’s singular vision has led to wide acclaim, with Hasegawa’s strikingly blue gunjo (lapis) pigments ripple off the surfaces of her gold leaf in various prizes at the Nitten Fine Art Exhibition and publicly collected by the Nichinan Art lush waterfalls, and it is the bold, almost Zen-like minimalism of the painting that attests to Museum in Tottori, his place of birth. TEFAF Maastricht 2021 marks this up-and-coming Hasegawa’s growing confidence as an artist, fully captured in the famed dictum by Ludwig artist’s international debut. Mies van der Rohe, “Less is more.”

1984 Born in Tokyo, Japan 1984 Born in Tottori, Japan 2009 Tama Art University 2010 Musashino Art University, MFA Exchange program, Aalto University, Finland Lives and works in Saitama 2011 Tama Art University, MFA Lives and works in Saitama Selected Awards 2005 Selected for the 5th Sato Taisei Prize Art Exhibition Selected Awards 2006 First selection into the Japan Fine Arts Exhibition, Nitten (’07, ’08, ’09, ’11, ’12, ’13, ’15) 2007 Reicof Art Award 2007 Encouragement Prize 2008 First selection into the Nisshunten Exhibition (’09, ’11, ’12, ’15, ’17) 2008 7th “Sesshu-no-sato” Soja Sumi Painting Award 19th Garyuzakura Japanese Painting Exhibition, Encouragement Prize 2013 Grant, The Great Britain Sasakawa Foundation 2010 Encouragement Prize, Nisshunten Exhibition (’14) 2017 Nominated for the 9th Koji Kinutani Prize 2014 Special Selection, Japan Fine Arts Exhibition, Nitten (’16) Selected Exhibitions 2015 Energia Prize, Art Category (Energia Culture and Sports Foundation) 2010 Rashinban Selection 2010, Art Space Rashinban, Tokyo, Japan 2016 Selected for the 9th Suga Tatehiko Grand Prix Exhibition

Within Beauty, Aralis Gallery Helsinki, Finland Selected Exhibitions 2011 Kiyo Hasegawa Exhibition, Gallery Natsuka, Tokyo, Japan 2009 Mainotabi, Solo exhibition Gallery, Sora, Tottori, Japan (’12) 2012 Kiyo Hasegawa Exhibition, Galleria grafica bis, Tokyo, Japan (’13) Nenohoshi Nihonga-ten, Matsuya Ginza, Tokyo, Japan (’10, ’12) 2013 KEHAI, ICN SPACE, London, UK 2010 Iroiro-ten, Matsuya Ginza, Tokyo, Japan (’16) I was you. You will be me., Akibatamabi21, Tokyo, Japan 2012 Solo exhibition, Kyoto Daimaru / Espace Kyoto, Kyoto / Maruei. Gallery Espace, Aichi, Japan On paper 2013 – Paper and Nature –, Tama Art University Museum, Tokyo, Japan Bokkon, Tokyo Metropolitan Art Museum, Tokyo, Japan Imago Mundi, Benetton collection, Venice, Italy 2013 Various Expressions of Japanese Painting, Fei Art Museum Yokohama, Kanagawa, Japan 2014 To the shrine grove, Fujiya Gallery, Tokyo, Japan (’15 ’19) Byobyo-ten, Tokyo Ginza Art Gallery Museum (held every year thereafter), Japan 2015 Kiyo Hasegawa Exhibition, Ichiharu Gallery, Kyoto, Japan 2014 Exhibition of Up-and-Coming Artists, Art Space Rashinban, Tokyo, Japan Ume-niwa-ten, Ichiharu Gallery, Kyoto, Japan Animal Mania, Fei Art Museum Yokohama, Kanagawa, Japan 2016 Kiyo Hasegawa Exhibition, Toho Art, Tokyo, Japan 2015 Solo exhibition, Kawabata Gallery, Tottori, Japan META – real –, Kanagawa Prefectural Gallery, Kanagawa, Japan 2016 Solo exhibition, Art Space Rashinban, Tokyo, Japan p.46 Art Fair Tokyo, Japan (’21) 2017 Craypas Art by Contemporary Artists, Sakura Art Museum, Osaka / Gallery 5610, Tokyo / Nichinan Art Museum, Tottori, Japan 2017 New works by emerging artists, Ichiharu Gallery, Kyoto, Japan Solo exhibition, Kawabata Gallery, Tottori, Japan 2018 La Primavera, Nihonbashi Takashimaya Art Gallery, Tokyo, Japan 2018 Inspiring Tunisia, co-hosted by the Embassy of the Republic of Tunisia and Chiyoda Ward, Chiyoda Ward Office, Tokyo, Japan Painting with Sumi, Art Space Rashinban, Tokyo, Japan FGS New Collection, Fuji Gallery Shinjuku, Tokyo, Japan Inspiring Tunisia, Co-hosted by the Republic of Tunisia Embassy and Chiyoda Ward Office, Tokyo, Japan Shin-Nisshunten, Tokyo Metropolitan Art Museum, Tokyo, Japan Rose Festa, Yokohama Takashimaya Art Gallery, Kanagawa, Japan Animal Collection, Imperial Hotel Medel Gallery Shu, Tokyo, Japan Blue Collection, Tokyu Tama-plaza, Kanagawa, Japan Art Busan 2018, BEXCO, Busan, South Korea Rou Shi – The road leading to Tao –, Ichiharu Gallery, Kyoto, Japan 2019 Meoto Eshi-ten, Fei Art Museum Yokohama, Kanagawa, Japan 2019 Kiyo Hasegawa Exhibition, Fujiya Gallery, Tokyo Solo exhibition, Tottori Daimaru Art Gallery, Tottori, Japan La Primavera, Nihonbashi Takashimaya Art Gallery, Osaka, Japan 2020 Animal Art Exhibition, Sogo Yokohama, Kanagawa, Japan Nihonga Now, Masterpiece London, London, UK Solo exhibition, Kobe Daimaru Art Gallery, Hyogo, Japan Art Miami, Miami, USA 2021 TEFAF Maastricht, The Netherlands 2020 TEFAF Maastricht, The Netherlands (’21) Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan West Bund Art and Design, Shanghai, China

Public Collections p.44 Nichinan Art Museum, Tottori

86 87 SATORU OZAKI “To create a work more natural than nature itself. Within it, a world of harmony, purity and the serene.” “Art is a way of living, and for me, an affirmation of life.” NAOKI TAKEYAMA 尾崎悟 武山直樹 About the Artist About the Work About the Artist About the Work An ascetic recluse living in the foothills of Chiba who refused to hold exhibitions of his Transforming metal into something fluid, while bending the properties of time, space and Naoki Takeyama (b. 1974 –) is a charismatic artist who wields the ancient technique Pushing the boundaries of enamelled metal is Takeyama’s raison d’ȇtre, and his new objects work for nearly 10 years before his representation by Yufuku Gallery in 2014, metal artist light through the traditional techniques of hand-hammering and polishing metal, Ozaki’s of enamelling metal with an electric modernity, his highly distinctive creations calling for TEFAF embody the many elements that have brought Takeyama critical acclaim. Satoru Ozaki (b. 1963 –) is considered one of the 'lost treasures' of Japan in light of his steel sculptures oft feature a pristine mirror-like finish that virtually warps reality and the to mind the avant-garde and asymmetrical designs of world-famous Japanese fashion Incredibly, Takeyama first hand-pinches into shape riveting copper bodies that twist mind-bending techniques of hammering and polishing the immobile and adamantine reflections upon it. Ozaki’s works are imbued with a Space Odyssey futurism entwined with designers of the 1980’s. Head of his class at the prestigious Tokyo University of the Arts, themselves into animation, using thin sheets of copper that are often pleated to absolute material of stainless steel into beautiful, minimal forms of great depth and presence. Once a beauty that takes the viewer into realms unforeseen. Takeyama has been recognised with a flurry of awards since his debut at the age of 24, perfection. Further, rather than enamelling via the use of wires, the artist uses a small sieve heralded as the saviour of conceptual metalwork during his time at the prestigious Tokyo while winning myriad awards since, with recent acquisitions by the Victoria & Albert and a bamboo paddle to apply a powder-base enamel glaze onto the body of the work that University of the Arts, the sands of time had slowly buried the artist underneath the Entitled “Now and Here VIII”, Ozaki’s latest sculpture finds the artist hammering, Museum in London in 2008, the Birmingham and Plymouth Museums of Art in 2011, crystalizes after firing. After applying the dry glaze, Takeyama fires the work in a small limelight. Yet finding a muse in the new aesthetic movement of the Keisho-ha (School of welding and ultimately polishing multiple pieces of steel into a single, harmonious entity. the National Museum of Modern Art, Tokyo in 2012, the Philadelphia Museum of Art in electric kiln, re-applies enamel, dries, and fires again, with the process repeated more than Form) and the artists affiliated with A Lighthouse called Kanata, Ozaki has sprung forth Embracing the fleeting, chance meetings that life brings upon us, the curving silhouettes of 2014, the Yale University Museum of Art and the Grassi Museum in Leipzig, Germany in 10 times. Then, the artist applies gold leaf to the entirety of the work, and after fusing the from his hermit-like existence to create never-before-seen sculptures in shimmering steel the work represent two star-crossed persons on different paths of life that will one day meet 2015. Takeyama’s metalwork is widely seen as a stunning reinterpretation of an age-old art, leaf onto the body in an electric kiln, coats the work with a transparent glaze to entrap the that are now captivating audiences the world over. as one. In other words, the two-pointed tips of the work symbolize two different roads that ultimately proposing to metal a wealth of new possibilities. leaf within the body of the work. As if in a state of constant flux, Takeyama’s enamelled will soon converge, yet not quite consummated. Do these paths represent unrequited lovers works are an exquisite collaboration between metal and maestro. With collections in such collections as the Tokyo University of Fine Arts and most recently of stars crossed? To meet or not to meet – Ozaki’s metal poems capture the serendipitous the Long Museum in Shanghai, China, Ozaki’s odes to steel resonate above and beyond, vicissitudes of life itself, the two paths of life meandering, flowing, and moving towards one with each strike of his hammer pouring into metal the poetry of life. another as an incarnation of destiny itself. As we do not know what life may bring, we must cherish the moment, appreciate what paths we’ve taken and tread, and fully accept where life may lead us, thereby embracing the Now and Here in all its beauty. 1974 Born in Toyota, Aichi Prefecture, Japan 1999 Tokyo University of the Arts, MFA In fact, this particular sculpture embraces the separate paths of life taken between a father Lives and works in Toyota

and son, inspired most of all by Ozaki’s relationship with his own son, a child he is deeply Selected Awards proud of and cares for. Indeed, one can visualize the separate branches of the work as the 1997 Ataka Prize, Tokyo University of the Arts bold and masculine paternal figure as represented by the thick, powerful side of the work, 1999 Prize, National Japan Gold & Silver Works Exhibition which is then elegantly juxtaposed with the gentle child; the whispery boy looking up Salon de Printemps Prize, Tokyo University of the Arts above to reach his father, while the father appears almost as if he is reaching out his hand to Prize, 33rd International Enamelling Art Exhibition his child he dearly loves. The eternal relationship between father and child is a story as old 2000 Grand Prize, Japanese Crafts Exhibition as time, and in Ozaki’s Now and Here VIII, this loving ode is poignantly captured in the Prize, 34th Japan Enamelling Art Exhibition riveting silhouettes of stainless steel. 2001 Toyota Cultural Prize, Aichi Prefecture Gold Prize, I.H.M TALENT, Germany Vielun Prize, TALENT, Germany 1963 Born in Tokyo, Japan 2002 Award, Japan Jewellery Arts Competition 2002 1993 Tokyo University of the Arts, MFA 2005 Juror's Special Prize, 7th National Ceramics Competition, Mino 2010 Art Fund Prize, Collect (’11) Lives and works in Chiba 2012 Nominated, Okada Mokichi Prize, MOA Museum of Art (’14) Selected Awards Selected Exhibitions 1986 Fujino Scholarship Award, Tokyo University of the Arts 2003 METALLFORMEN, Germany and Italy 1987 Fujino Scholarship Award, Tokyo University of the Arts 2005 Exempla, Germany 2007 Solo Exhibition, Yufuku Gallery, Tokyo, Japan (’10) Selected Exhibitions 2008 A Japanese Dialogue, Scottish Gallery, UK 1986 Okurayama Museum, Yokohama, Japan Collect, Victoria & Albert Museum, London, UK 1993 Tokyo University of the Arts, Master of Fine Arts Graduation Exhibition, Japan 2009 Collect, Saatchi Gallery, London, UK (’10, ’11, ’12, ’13, ’14, ’15) Yokohama Galleria Bellini Hill Gallery, Nomura Cultural Foundation, Japan Quest Gallery, Bath, UK 1996 Metal Art Museum, Chiba, Japan 2012 Art Fair Tokyo, Japan (’13, ’21) 2002 Toki Gallery, Chiba, Japan New Footing: 11 Approaches to Contemporary Craft, The National Museum of Modern Art, Tokyo, Japan 2013 TEFAF Maastricht, The Netherlands (’14, ’15, ’16, ’17, ’18, ’19, ’20, ’21) 2006 Garret Interior, Japan (’07) Artfully Connected, Embassy of Sweden, Tokyo, Japan 2014 Art Miami, USA (’15, ’16, ’17, ’18, ’19) 2014 Art Stage Singapore, Singapore (’15, ’16, ’17) 2015 Keisho-ha II: A New Materialism, Yufuku Gallery, Tokyo, Japan Solo Exhibition, Asia Week New York, USA Art Stage Singapore, Singapore (’16, ’17) Clark Art Institute Opening Exhibition, USA Collect, Saatchi Gallery, London, UK Art Miami, USA (’15, ’16, ’17, ’18, ’19) 2016 TEFAF Maastricht, The Netherlands (’17, ’18, ’19, ’20, ’21) 2015 Japan!, Paris, France Spring Masters New York, USA 2016 Spring Masters New York, USA EAF Monaco, Monaco EAF Monaco, Monaco Art Taipei, Taiwan Art Taipei, Taiwan 2017 TEFAF New York Spring, USA 2017 TEFAF New York Spring, USA 2018 Palm Beach Modern + Contemporary, USA 2018 The odernM Minstrels in Metalworking, Lixil Gallery, Tokyo, Japan Seattle Art Fair, USA (’19) Sprinkle of Design, B&B Italia Japan, Tokyo, Japan 2019 Decorative Arts in Meiji and Heisei: Crafting Beauty Across 150 Years, Museum of Greek Modern Culture, Greece Seattle Art Fair, USA (’19) Silhouettes of Tomorrow, Yufuku Gallery, London, UK 2019 Silhouettes of Tomorrow, Yufuku Gallery, London, UK 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan p.52 West Bund Art and Design, Shanghai, China (’20) 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan Public Collections 2021 Art Fair Tokyo, Japan Toyota City, Japan / Tokyo University of the Arts, Japan / Victoria & Albert Museum, UK / Manchester City Art Gallery, Public Collections UK / Birmingham Museum & Art Gallery, UK / Plymouth City Museum & Art Gallery, UK / The National Museum of Modern Art, Japan / The Enamel Arts Foundation, USA / The Philadelphia Museum of Art, USA / The Yale University Tokyo University of the Arts, Japan Art Gallery, USA / Grassi Museum, Leipzig, Germany / The Design Museum, Germany Metal Art Museum, Chiba, Japan Long Museum, Shanghai, China p.50

88 89 KOSUKE KATO “The organic flow of life and its infinite possibilities can be found within the surfaces of my Damascus steel.” “Using lacquer to reveal an inner world, I transform contemporary space.” NOBUYUKI TANAKA 加藤貢介 田中信行 About the Artist About the Work About the Artist About the Work Kosuke Kato (b. 1988 –) is one of the leaders of an up-and-coming generation of metal Damascus steel is known as a hard gray metal decorated with speckled, silvery ripples Lacquer is a virtually transparent material used to coat infinite layers upon layers upon bare Tanaka’s sculptures test the boundaries of dry lacquer, called kanshitsu in Japanese and artists in Japan who, while embracing the storied traditions of metal within Japanese that resemble the flow of water, babbling streams and primordial pools of microcosms surfaces, thereby imbuing these surfaces with a nearly eternal, even indestructible quality. a technique often associated with the traditional Buddhist sculptures of the Kamakura history, strive for vistas never before seen in their respective materials. From samurai swords and microorganisms. Kato’s creative process within Damascus is a highly intricate process It is this organically enigmatic beauty of lacquer, its virtual exteriors revealing hidden Period. Carving styrofoam into a basic shape, the artist applies thin layers of hemp onto to armour, from tea ceremony ware to ceremonial vessels, metal has long been engrained akin to the forging of Katana samurai swords. First taking 7 different sheets of iron ore interiors, that fascinate the sculptor Nobuyuki Tanaka (b. 1959 –), widely considered to the surface, and then begins the process of meticulously lacquering the hemp with coats in the national consciousness as only second to ceramics, a more tactile and utilitarian and nickel, the artist piles them together and heats the materials into a single unit at a be the leading lacquer artist of his generation, and it is Tanaka who has vibrantly pushed upon coats of lacquer. Upon creating the essential “frame” of the work, the styrofoam is material, and the material of Damascus has no true roots in this island nation’s history. temperature of 1000 degrees Celsius. Once this temperature is reached, the process of the boundaries of what contemporary lacquer can represent: a persuasive means of Eastern then carved away, leaving only the lacquered hemp to remain as the vestige of the original Yet Kato wields the metal that is Damascus steel with a minimal elegance, transforming hammering the metal, folding, then cutting the metal in two continues repeatedly, while expression within contemporary sculpture that is, simultaneously, a direct challenge to the body. Furthermore, the artist polishes the entirety of his large surfaces with charcoal the austere and medieval material into a compelling medium for abstraction within throwing sand in to create and solidify a base billet. After compressing the billet, a pattern hegemony of the Western narrative within modern and contemporary art. stone, thereby giving his facades an almost mirror-like lustre that not only reflects light contemporary art. In Kato’s metal facades are the seven seas of serenity, an eternal loop that is embedded within the metal, and then polished out to achieve a metallic sheen. An acidic but literally absorbs and engulfs its surroundings, infectiously pulling the viewer into its plays on and on, his silhouettes accentuating the raw beauty of Damascus in all its true liquid is then applied to the surface, and the multi-layered Damascus motifs begin to rise Collected by major institutions such as the Metropolitan Museum in NYC and influential seductive grasp. For TEFAF 2021, Tanaka has created a free-standing vertical sculpture in glory. from within the metal and appear on Kato’s facades. Lastly, the treated metal is hammer- contemporary art museums such as the Mori Art Museum in Tokyo and the 21st Century red lacquer for the very first time, marking a departure from his emphasis on black lacquer raised into Kato’s distinctively serene and minimal silhouettes. TEFAF Maastricht will Museum of Contemporary Art in Kanazawa, Tanaka’s radiant sculptures in lacquer are as the sole means of expression for his signature vertical forms. With his lead work for his debut exhibition at Yufuku Gallery in 2016 being acquired by mark the debut of Kato’s new sculptural series Crescendo, which brings forth a riveting towering odes to space itself, challenging the viewer to almost question whether his or her the Philadelphia Museum of Art, and with a solo exhibition already slated for the Samurai movement of vertical ebb and flow through the use of an attached metal pedestal. Clearly reflection appearing on the surfaces of his works are in fact manifestations of other realms Museum in Berlin, Germany, Kato represents the next generation of Japanese metal artists inspired by his Kanata predecessors such as Sueharu Fukami and Satoru Ozaki, Kato is and dimensions unknown. His genius lies in his ability to manipulate the unique qualities who are pushing the boundaries of their materials to new heights. creating a new realm of abstraction within Damascus that has not been pursued before. of lacquer to create a symbiotic interconnectivity between facades and their interiors, using the raw beauty of his material to create sculptures that are not only elegantly crafted and beautiful, but at the same time, represent a new way of perceiving ancient materials and techniques in the 21st century.

1959 Born in Tokyo, Japan 1988 Born in Kanagawa Prefecture, Japan Tokyo University of the Arts, MFA 2010 Tamagawa University Lives and works in Kanazawa 2013 Hiroshima City University, MFA Lives and works in Kanagawa Selected Awards 2003 Takashimaya Art Award, Takashimaya Culture Foundation Selected Awards 2012 The 18th MOA Mokichi Okada Prize craft arts section award 2010 Dean’s Award, Tamagawa University 2012 Hiroshima Mayor Award, Hiroshima KAZARU Exhibition Selected Exhibitions Genbei Yamanaka Award, Imakara Mamesara Exhibition 1996 Japan Society Gallery, New York / Denver Art Museum, Colorado, USA 2013 Yuji Akimoto Award, Art Craft of the Next Generation Exhibition 2004 MODERN MASTERS & COLLECTION, 21st Century Museum of Contemporary Art, Kanazawa, Ishikawa, Japan 2015 Prix Villa Kujoyama, Institut français du Japon Kansaï Award, Imakara Mamesara Exhibition 2005 Ars Nova-Between the Contemporary Avant-garde Art and the Crafts, Museum of Contemporary Art, Tokyo, Japan 2016 Institut Français du Japon Prize, Imakara Mamesara Exhibition 2008 JAPAN! CULTURE ＋ HYPER CULTURE Exhibition, Kennedy Center, Washington, USA 2019 Award of Excellence, 35th Tansuio Award, The Satoh Art Craft Research & Scholarship Foundation 2009 Nizayama Forest Art Museum, Toyama, Japan 2012 New Footing – Eleven Approaches to Contemporary Crafts, The National Museum of Modern Art, Tokyo, Japan Selected Exhibitions 2013 Kuroda Tatsuaki, Tanaka Nobuyuki – The Power of Lacquer, Toyota Municipal Museum of Art, Japan 2009 Japan Traditional Metal Art Exhibition, Nihonbashi Mitsukoshi, Tokyo, Japan (’10, ’11) Hubei International Triennial of Lacquer Art 2013, WORLD OF GREAT LACQUER ORIGIN AND FLOWS, Hubei Museum of Art, China 2012 Hiroshima KAZARU Exhibition, Hiroshima, Japan The udaciousA Eye, Japanese Art from the Clark Collection, Minneapolis Institute of Arts, Minnesota, USA 2013 Takaoka City Art Craft Exhibition, Toyama, Japan 2014 TEFAF Maastricht, the Netherlands (’15, ’16, ’17, ’19, ’20, ’21) Art Craft of the Next Generation Exhibition, Kyoto Municipal Museum of Art, Japan (’14) Collect, Saatchi Gallery, London, UK (’15) 2014 Essence and Quality Kosuke Kato × Kei Ogawa Duet Exhibition, Gallery Hinoki plus, Japan Art Miami 2014, Miami, USA (’15, ’16) 50th Kanagawa Prefectural Art Exhibition, Japan 2015 Simple Forms – Contemplating Beauty, MORI Art Museum, Tokyo, Japan Tea Ceremony of Light, SHUHALLY, Kanagawa, Japan Contemporary Art in Rakusui-tei, Rakusui-tei Museum of Art, Toyama, Japan Metal Art Exhibition of Hiroshima City University, Akitaka Municipal Yachiyonooka Museum of Art, Japan 2016 Imaginary Skin, The Ueno Royal Museum, Tokyo, Japan 2015 Nuit Blanche Kyoto, Japan Imaginary Skin, Kanazawa Art Gummi, Kanazawa, Japan Solo exhibition, Powerful Expressions, Seikado Gallery, Kyoto, Japan 2017 TEFAF New York, New York, USA 2016 Group exhibition, Keisho-Ha III: A New Materialism, Yufuku Gallery, Tokyo, Japan OKU-NOTO TRIENNALE, Ishikawa, Japan kougei project vol.2, Ai Kowada Gallery, Tokyo, Japan Hard Bodies: Contemporary Japanese Lacquer Sculpture, Minneapolis Institute of Art, USA view – Kosuke Kato Solo exhibition, Yufuku Gallery, Tokyo, Japan Flowing Water and Tactile Water, Hagi Uragami Museum, Japan 2017 Art Stage Singapore, Singapore 2018 KOGEI Architecture Exhibition, 21st Century Museum of Contemporary Art, Kanazawa, Japan TEFAF Maastricht, The Netherlands (’18, ’19, ’20, ’21) URFORMEN – Nobuyuki Tanaka, Primordial Memories, Museum Pfalzgalerie Kaiserslautern, Germany Evolution of Metal Works, Wako, Tokyo, Japan 2019 Images of Asia: The East as Longed-for Other in Japanese Art, Tokyo Metropolitan Teien Art Museum, Japan 2018 Palm Beach M + C, USA URFORMEN – Nobuyuki Tanaka, Primordial Memories, Museum fur Lackkunst, Munster, Germany Seattle Art Fair, USA (’19) West Bund Art and Design, Shanghai, China (’20) Art Miami, USA (’19) p.56 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan 2019 Legato – Kosuke Kato Solo Exhibition, Yufuku Gallery, Tokyo, Japan 35th Tansuio Award Winner Exhibition, Gallery Kochukyo, Tokyo, Japan Silhouettes of Tomorrow, Yufuku Gallery, London, UK Public Collections 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan Hiroshima Prefectural Art Museum, Japan / The Japan Foundation, Japan / The Museum of Fragrance, Japan / Toyota Municipal Museum of EQUILIBRIUM, Bermel von Luxemberg Gallery, Berlin, Germany Art, Japan / SHISEIDO Art House, Japan / 21st Century Museum of Contemporary Art, Kanazawa, Japan / Utatsuyama Craft Workshop, 2021 Art Fair Tokyo, Japan Japan / Rakusui-tei Museum of Art, Japan / The Metropolitan Museum, USA / Gitter-Yelen Foundation, USA / Brooklyn Museum of Art, USA / Minneapolis Institute of Art, USA / Sainsbury Centre for Visual Arts, UK / JT International, Switzerland / Victoria & Albert Museum, UK / GRASSI Museum of Applied Art, Germany / Hubei Museum of Art, China / Mori Art Museum, Japan / Philadelphia Museum of Art, USA / Fujian Art Museum, China / The National Museum of Modern Art , Tokyo / Museum Pfalzgalerie Kaiserslautern, Germany / Museum für Public Collections Lackkunst, Munster, Germany Philadelphia Museum of Art Selected Commission Works p.54 Chugai Pharmaceutical Co., Ltd., Japan / Conrad Tokyo, Japan / The Peninsula Tokyo, Japan / Oracle Corporation, Japan / Double Tree By Hilton, China / Urabandai Kogen Hotel, Japan

90 91 MAYU NAKATA “Through my work, I hope to have a passionate conversation with peoples past and future.” “Bamboo is naturally beautiful, so it is the artist who must strive to bring out a beauty that surpasses its natural allure.” OSAMU YOKOYAMA 中田真裕 横山修 About the Artist About the Work About the Artist About the Work The allure of lacquer is quintessentially an Asian one, the material prevalent and used since “Bloom” by Mayu Nakata is her first work made specifically for an European audience, The aesthetics enshrined within the material of bamboo – its lustre, strength and resilience, Using only madake bamboo that is indigenous to Japan, Yokoyama differs from his prehistory in nearly each and every nation from China, Southeast Asia, and of course, effectively illustrating Nakata’s prowess with simple forms while harnessing lacquer’s represent the foundations of Japanese beauty, cherished for centuries on this island contemporaries in that his works are predominantly ‘bound’ rather than ‘woven’, thereby Japan. In particular, Japan’s intimate relationship with lacquer dates from the Jomon Period ability to be coloured in pigments other than with traditional reds and blacks. ‘Kinma’, a nation in the world of tea and in the daily rhythms of everyday life. Yet at the same time, allowing the artist to create large, sculptural forms that are almost architectural in their (BCE 3200), as evidenced by the lacquered earthenware and ornaments unearthed and technique of lacquering originally borne in Southeast Asia, is obsessively time-consuming bamboo has come to symbolise the very persona of Japan and the Japanese people, who dynamism, accentuating the raw and material beauty of bamboo. Much of the techniques discovered in the Kakinoshima Excavation sites of Hokkaido. In this light, Mayu Nakata (b. and notoriously labour-intensive, and each work by Nakata ultimately takes approx. two have endured with steadfast resilience the hardships borne from both human and natural used by Yokoyama are self-taught inventions used to augment and shape bamboos in ways 1982 –) has sprung forth as a talented presence in the world of traditional Japanese lacquer to three months for completion. First, Nakata creates a basic body silhouette from linen disasters. Bamboo, however, is not simply a material suited for the creation of traditional that would traditionally be frowned upon, such as heating and gluing. Yet it is during through her imaginative innovations in reviving the ancient lacquering technique of ‘kinma’, cloth, thereby lacquering a sleek vessel form into existence. Then, the artist painstakingly arts and crafts. Rather, a new generation of artists have wielded the material with a new- the dialogue with his material that the artist finds the final form of his work, and the and imbuing it with a contemporary beauty at once both bold and electric. Essentially, carves intricate patterns into the surface of the lacquer with a knife-like blade, essentially found vigour, breathing life into its unique textures as a compelling material within techniques and materials used are the means to an end – the expression of an inner beauty ‘kinma’ entails a painstaking process of carving patterns within a body surface and, inlaying engraving the entirety of the piece with rippling patterns that are then inlaid with contemporary art. The youthful Osamu Yokoyama (b. 1980 –) is one such artist, who finds that can only be realised by bamboo. different colours within the incisions, thereby covering the entirety of the work with pigmented lacquer of vivid yellows and golds. This process is repeated throughout Bloom, within bamboo an ideal material for self-expression. For it is within its bends and curves, patterns imbedded within lacquer itself. Throughout Japan, it is only in Takamatsu where and as a grand finale, the work is polished smoothly in its entirety to give the appearance its ability to be cut, bound and stretched to its limits, that one can find the meandering, this technique continues to be deeply cherished as a style of lacquer indigenous to the as if the lacquer and the body are virtually seamless – a Kagawa lacquering characteristic ethereal and poignant vicissitudes of life itself. Prefecture of Kagawa, where Nakata herself was trained. passed down since the 19th century. Nakata often says that each piece she creates is essentially telling a story that links the persons of tomorrow with the persons of the past, as Yokoyama does not hail from a storied lineage or distinct tradition, unlike many of the 3rd Yet not only is Nakata’s technique impressive, it is her slick ability to create minimal and a dialogue in time that captures the ephemeral with the eternal. Indeed, in the work that is or 4th generation bamboo artists working today. Instead, Yokoyama was a graphic designer simple forms that accentuate and heighten the beauty of her lacquered patterns that reveal Bloom, Nakata captures the beauty of time itself. who eschewed a salaried position to delve into the world of bamboo, taking his wife and her great potential as an artist. Having been selected as a finalist for the Loewe Foundation’s young daughter to Beppu, the mecca of Japanese bamboo art, and apprenticing to leading Craft Prize in 2019, and with three public collections already to her name, Nakata’s bamboo artist Jin Morigami. To capture a beauty unable to be expressed by any other recognition in the world of lacquer is quickly rising. Her very first showing outside of Asia, means, Yokoyama wields bamboo with the resolute urgency of now. Kanata proudly introduces Nakata’s European debut at TEFAF Maastricht 2021, all the more gratifying by the fact that Kanata owner had supported her career since her days as a student at the Kagawa Urushi Lacquerware Institute.

1980 Born in Matsumoto, Nagano Prefecture, Japan 1982 Born in Hakodate, Hokkaido, Japan 2016 Apprenticeship, Jin Morigami Studio 2005 Hokkaido University 2017 Kagawa Urushi Lacquerware Institute Lives and works in Beppu 2018 Kanazawa Utatsuyama Craft Workshop Selected Awards Lives and works in Kanazawa 2015 New Artist Award, The 20th Japan Bamboo Art Exhibition Selected Awards Honourable Award, The 55th Japan Crafts Exhibition 2015 Encouragement Award, 58th Kagawa Traditional Art Crafts Exhibition (’16) 2016 Award of Excellence, The 21st Japan Bamboo Art Exhibition 2019 Meitetsu M'za President Award, 60th Ishikawa Traditional Craft Exhibition 2018 Grand Prize, The 23rd Japan Bamboo Art Exhibition Finalist, LOEWE FOUNDATION Craft Prize Special Recognition Award by Ohi Toyasai, 4th Triennale of Kogei in KANAZAWA Selected Exhibitions 2020 Encouragement Award by Mayor of Kanazawa, 76th Kanazawa Kogei Exhibition 2016 Spring Masters New York, USA Selected Exhibitions 2017 Keisho-ha IV: A New Materialism, Yufuku Gallery, Tokyo, Japan 2017 ZOKOKU Kagawa Lacquer Exhibition, Tokyo International Forum, Japan TEFAF New York Spring, USA 2018 Asian Design Art Exhibition 2018, Royal University of Phnom Penh, Cambodia rewind – osamu yokoyama – Debut Exhibition, Yufuku Gallery, Tokyo, Japan 2019 Art Fair Tokyo 2019, Tokyo International Forum, Japan Art Miami, USA (’18) Kanazawa Utatsuyama Craft Workshop Exhibition, 2018 TEFAF Maastricht, The Netherlands (’19, ’20, ’21) 21st Century Museum of Contemporary Art, Ishikawa, Japan Seattle Art Fair, USA (’19) Fuori Salone 2019 – Design Language – Milan Design Week 2019, Milan, Italy Gendai Shitsugei no Manazashi, Osaka Takashimaya Department Store, Japan Yufuku Gallery NYC Pop-Up, USA KOGEI Art Fair Kanazawa 2019, KUMU KANAZAWA by The Share Hotels, Ishikawa, Japan 2019 silhouettes of you – osamu yokoyama – Solo Exhibition, Yufuku Gallery, Tokyo, Japan 2020 Solo exhibition “Float”, Art Shop Tsukibae, Ishikawa, Japan Silhouettes of Tomorrow, Yufuku Gallery, London, UK 2020 Taipei International Art Fair, Taipei, Taiwan West Bund Art and Design, Shanghai, China (’20) 2021 TEFAF Maastricht, The Netherlands 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan 2021 Art Fair Tokyo, Japan

Public Collections Kagawa Urushi Lacquerware Institute, Japan / Kagawa Prefectural Museum, Japan / Kanazawa Utatsuyama Craft Workshop, Japan

Selected Commission Works Public Collections Hyatt Centric Kanazawa, Japan The Klorfine Foundation, USA

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92 93 KAZUMI NAGANO “My works express tranquillity not dynamism. My gold is not the colour of sunshine but of moonlight.” “I believe we can enhance the quality of our lives by surrounding ourselves with objects that possess values beyond their function or aesthetic.” JOSEPH WALSH 永野和美 ジョセフ ウォルシュ About the Artist About the Work About the Artist About the Work As if capturing the beauty of Japanese painting into her woven jewellery, epitomised by the The world of Japanese painting has been condensed and captured into both sartorial and One can hear the flowing of water and the rustling of wind in the sleek silhouettes of Joseph In the words of the artist, “My works for Japan represent a certain point, a moment in moon, flowers, and subtleties of snow, it can be said that Kazumi Nagano (b. 1946 –) is one visual beauty within the contemporary jewellery of Kazumi Nagano. Widely known for the Walsh (b. 1979 –), an artist who captures not only the natural beauty of Ireland in his epic time along the way. It is as much about the beginning of the journey as it is about the end. of the leading artists in her field. Contemporary jewellery is one of the most hotly-collected supple silhouettes found in her gold and platinum bracelets, brooches, and necklaces such works made from wood or stone, but the movements that flow within. Walsh’s works in It speaks of an evolution in my work, from the past through to an expression of the now. mediums in applied arts by museums and collectors, and Nagano’s works, which embody as the piece featured in this catalogue, Nagano creates her art objects by utilising threads furniture are as if dreams have melted into place, finding form in shapes unseen and beyond Most importantly, it is also a dialogue with Japan and with the A Lighthouse called Kanata, conceptual, structural and creative elegance, have been collected by the Victoria & Albert made of various precious metals and weaving them together as if tapestry. Obtaining her imagination, his curves and lines at once seductive yet simultaneously, serene. However, it and how the experience of having my work in Japan will inform and influence the future.” Museum and a multitude of various important private collections in recent years. Striking raw materials from Kyoto, the materials of gold (in widely different colours) and platinum is not simply imagination that Walsh transcends, but the very conception of functionality is the fact that Nagano had only delved into the world of jewellery after reaching the age are ingeniously transformed into her warp, or longitudinal threads, while her lateral threads, within form. Where does function end and free form begin? Can revolutionary form and Made by cutting ash wood into thinly striated layers and bending them into his imagined of 50. Instead, she was formally educated as a Nihonga (traditional Japanese painting) or weft, are made from nylon in order to add an element of elasticity, texture and substance. the comforts in functionality coalesce in a state of peaceful coexistence? The answer is an forms through the sheer weights of gravity, Walsh’s works are luscious odes to the beauty of artist. Yet, as if painting the aesthetics of traditional Japan into her three-dimensional By weaving the warp and weft into her loom, radiant sheets of gold and platinum are unequivocal yes. Walsh’s curvatures are the symbiosis of unforeseen vision, the highest levels material and the visceral poetry that simple silhouettes can evoke. A joy to use and nurture pieces, her seductive silhouettes are emblematic of the romanticism inherently found in completed. Then, Nagano ultimately uses her hands to tie, knot, and braid her works into of innovative craftsmanship that is coupled with true knowledge of his material, and at the for generations to come, the work of Joseph Walsh reminds us of a distinct Return to the two-dimensional world of Japanese painting, of subtle flowers blowing in the wind, eloquent silhouettes that are not only beautiful when worn, but are also elegantly displayed same time, finding within the sheer determination to make such visions into reality. Innocence – in other words, the importance of material, craftsmanship and beauty within with reverence to the warmth of not the sun but of moonlight. Serenity, not dynamism, is as installation. contemporary art. the hallmark of Nagano’s luscious forms made from materials such as gold and platinum With works in the collections of leading museums such as the Metropolitan Museum threads, combined with the elasticity of the contemporary material that is nylon. in NYC, the Centre Pompidou, the Museum of Art and Design (NY), and the National Museum of Ireland, Walsh has defined and transcended the limits of his material, and have put to the test the notion that the categories of furniture and sculpture are separate and distinct entities. Instead, his works blur the lines between furniture and fine art, essentially 1946 Born in Nagoya, Aichi Prefecture, Japan proving testament to the notion that such definitions are essentially meaningless in the case 1972 Tama Art University, MFA / Lives and works in Tokyo of masterful works of art that stand the tests of time. Selected Awards 2002 Fine Works Prize, Japan Jewellery Art Competition, Tokyo

Selected Exhibitions 2002 WINTER JOURNEY Christmas Exhibition, Galerie Slavik, Vienna, Austria (’04) 1979 Born in Cork, Ireland 2005 Schmuck, Munich, Germany (’08, ’11, ’12, ’13, ’15, ’16) 1999 Founds studio in Cork, Ireland SOFA New York, Mobilia Gallery, USA (’06, ’07, ’08, ’09) SOFA Chicago, Mobilia Gallery, USA (’06) Selected Exhibitions 2007 Collectables, Alternatives Gallery, Rome, Italy 2008 Realisations, American Irish Historical Society, New York, USA 2008 Magie Der Schmuckkunst, Galerie Slavik, Vienna, Austria 2011 Nilufar, Salone, Milan, Italy Collect, Victoria & Albert Museum, Alternative Gallery (’13, ’14, ’15) Black & White, Oliver Sears Gallery, Dublin, Ireland Galerie Pilartz, Cologne, Germany ENIGNUM and other stories, Oliver Sears Gallery, Dublin, Ireland Exhibition of Contemporary Jewellery Yufuku Collection, Yufuku Gallery, Tokyo, Japan (’10, ’11, ’14) 2009 Cut the edge, Weave the Line Textile Arts, Mobilia Gallery, USA 2012 Wallpaper Handmade at Palazzo Brioni, Milan, Italy Collect, London, UK – Alternatives Gallery, Rome, Italy (’10, ’11) / Yufuku Gallery, Japan (’13, ’14, ’15) Design Days Dubai, Nilufar Gallery, Dubai, UAE Paper jewellery exhibition, Triennale Design Museum, Milan, Italy 2013 Against the Grain: Wood in Contemporary Art and Craft, Museum of Art Fort Lauderdale, Florida, USA Progetto Pezzi Di Luna – Music and Contemporary Jewelly, Padova, Italy 2014 Cheongju International Craft Biennale, South Korea Zwischen den Jahren, Galerie Pilartz, Cologne, Germany Against the Grain: Wood in Contemporary Art and Craft,Museum of Art and Design, New York, USA Heirlooms of the Future, Mobilia Gallery, USA Solo Exhibition, The Roche Court Educational Trust, New Art Centre, UK 2010 20 Jahre Galerie Slavik, Galerie Slavik, Vienna, Austria Collective 2, Skylight at Moynihan Station, New York, USA 2011 Objects of Status, Power and Adornment, Mobilia Gallery, USA Duo-Exhibition, Alternatives Gallery, Rome, Italy Lilium, Oliver Sears Gallery, London 2012 One, Mixed Media Foundation, Padova, Italy 2015 Make Yourself Comfortable at Chatsworth, UK Contemporary visions of the necklace art for the ear the art of the ring, Mobilia Gallery, USA 2016 Masterworks, Long House Reserve, East Hampton, New York, USA LOOT 2012, M.A.D. Gallery, New York, USA p.64 Royal Academy Summer Exhibition, London, UK TheTree – A Material for Arts and Crafts, Galerie Handwerk, Munich, Germany 2017 Reveal, The American Irish Historical Society (AIHS), New York, USA Unexpected Pleasures, National Gallery of Victoria, Australia Making / Breaking, Cooper Hewitt Museum, New York, USA 2013 Duo-exhibition, Kayo Saitou, Kazumi Nagano, Galerie Orfeo, Luxembourg Joseph Walsh’s Japan Debut at the Tsubaki Grand Shrine, Mie, Japan Galerie Sofie Lachaert, Belgium 2019 Art Fair Tokyo 2019, gallery deux poisons, Japan TEFAF Maastricht, The Netherlands (’14, ’15, ’16, ’17, ’18, ’19, ’20, ’21) FIREWORKS mit / with Stefano Marchetti & Kazumi Nagano, Galerie Slavik Vienna, Austria 2018 RINN – an exhibition by Joseph Walsh, Sogetsu Hall, Tokyo, Japan 2014 Dubai Design Days, Galerie sofie lachaert, Belgium Melbourne Contemporary Jewelry and Object Trail, Radiant Pavilion, Australia / Rubicon ARI Gallery, Australia Earth Wind Fire, Crawford Art Gallery, Cork, Ireland Petit est beau. Paper Jewelry, Manggha Muzeum, Poland Group-exhibition, RMIT Gallery, Australia 2019 Design Miami, Basel, Switzerland 2015 Schmuck 1970 – 2015, Sammlung Bollmann, Vienna, Austria Invisible Thread a story of 4 makers, Het Labo Atrium, Japan West Bund Art and Design, Shanghai, China (’20) p.66 Not Too Precious, Ruthin, UK 1500 rings covering 4000 years of rings Alice and Louis Koch collection, Swiss National Museum, Switzerland Design Miami, Miami, USA (’20) Galerie Noel, Canada Contemporary Jewelry 1970 – 2019 Bollman Collection, Oratorio di San Rocco, Italy 2020 Centre Pompidou × West Bund, Shanghai, China 2016 Not Too Precious, National Craft Gallery, Ireland Group Exhibition, Thereza Pedrosa Gallery, Italy MONO Japan, Amsterdam Sieraad Art Fair, Amsterdam, The Netherlands (Thereza Pedrosa Gallery) Skin: the jewellery surface, Museo del Gioiello Museum, Italy 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan 25 JAHRE GALERIE SLAVIK, Galerie Slavik Vienna, Austria Jewelry from Architecture, Mobilia Gallery, USA Solo-exhibition, MANO Gallery, Taiwan Winter Journey, Galerie Slavik, Vienna, Austria Public Collections Spring Masters New York, USA EAF Monaco, Monaco Centre de Pompidou, France / Cooper Hewitt, Smithsonian Design Museum, USA / The Devonshire Collection, Chatsworth 2017 TEFAF New York Spring, USA Public Collections House, UK / Embassy of Japan, Ireland / John H. Bryan Collection, USA / National Museum of Ireland – Decorative Arts & History Collection, Ireland / Mint Museum of Craft & Design, Charlotte, USA / Museum of Arts and Design, USA / Tsubaki Group-exhibition, The Most Secret Gallery, Copenhagen, Denmark Victoria & Albert Museum, UK / Alice & Louis Koch Collection of Rings, Switzerland / Olnick Spanu Collection, USA / Grand Shrine, Japan / The Metropolitan Museum of Art, USA SOFA Chicago, Galerie Noel Guyomarc’h, Canada Bollmann Collection, Austria / Katrin Basiner Collection, Germany / The Cominelli Foundation, Italy / Cooper Hewitt, Jewelry of Ideas, Cooper Hewit Smithsonian Design Museum, New York, USA Smithsonian Design Museum, Susan Grant Lewin Collection, USA / Pureun Culture Foundation, Seoul, South Korea TWO × TWO for the Foundation of AIDS Research and the Dallas Museum of Art, USA (Galerie Noel Guyomarc’ h, Canada) Korean Craft and Design Fair, South Korea (Galerie Noel Guyomarc’ h, Canada) 2018 Pin Point Exhibition, Mobilia Gallery, USA Precious Thoughts, Confraternity of St. Rocco, Padova, Italy

94 95 TEFAF (The European Fine Art Fair)

TEFAF is widely considered to be the ‘crown jewel’ of international art fairs, held in Maastricht from the 11th to the 19th of September, 2021 at MECC Maastricht, attracting leading museum curators and collectors the world over. We sincerely look forward to welcoming you to our stand. For more information on TEFAF, please visit the official TEFAF website, or A Lighthouse called Kanata’s website, per below.

TEFAF Maastricht 2021: www.tefaf.com A Lighthouse called Kanata: https://lighthouse-kanata.com

A Lighthouse called Kanata

Please direct all enquiries to: Kasumicho Terrace 6F, 3-24-20 Nishi-Azabu, Minato-ku, Tokyo, Japan 106-0031 Kumiko Sunahara Tel: +81 3 5411 2900 Fax: +81 3 5411 2901 International Director lighthouse-kanata.com [email protected]

Approx. 10 minute walk from Roppongi, Nogizaka, and Hiroo stations, on the corner of Nishi-Azabu Crossing between Roppongi Avenue and Gaien-Higashi Avenue.

By Toei Bus from Shibuya station East exit no.51 take RH01 Line or TO-01 Line and get off at “Nishi-Azabu” bus stop.

Published by A Lighthouse called Kanata Written by Wahei Aoyama Edited by Ami Nakano Designed by Ami Nakano and A Lighthouse called Kanata All photography by Tsunehiro Kobayashi, except Sueharu Fukami by Takashi Hatakeyama, Niyoko Ikuta by Junichi Kanzaki, Satoru Ozaki by Yuichiro Tamura, Kazumi Nagano by Ryota Sekiguchi, Joseph Walsh by Andrew Bradley © 2021 by East Meets West, Inc. Printed in Japan. All rights reserved. TEFAF MAASTRICHT 2021 TEFAF 2021 A LIGHTHOUSE

A LIGHTHOUSE CALLED KANATA CALLED KANATA