深見陶治 SUEHARU FUKAMI

Heaven

2021 Slip-cast porcelain with celadon glaze H36.5 × W124 × D32 cm H14.3 × W48.8 × D12.6 in SUEHARU FUKAMI “To create a sense of noble simplicity and great silence, I search for a world of fundamental depth.” About the Artist About the Work One of the most distinguished Japanese ceramists of his generation, Kyoto’s Sueharu !e artist is known for his genre-de#ning high-pressure slip-casting techniques. Fukami’s Fukami (b. 1947 –) wishes to express the ‘in#nite space’ that lies beyond the supple curves works are #rst realised by creating a 3-tiered plaster mould of considerable size and weight. 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 translucency of the artist’s signature pale-blue seihakuji glaze. !e triumphant edges and the porcelain clay is proportionately condensed without air pockets or impurities. Once the 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 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 bisque-#ring in an electric kiln, the work is sprayed with seihakuji (celadon) glaze, and then With works in over 50 public collections, in particular the British Museum and Victoria reduction-#red in a gas kiln for approximately 30 hours. Creating only 6 to 8 sculptures & 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 of Fine Arts in Boston, the Musée national de céramique-Sèvres and many others, Fukami alike. has contributed to de#ning and expanding the meaning, importance, and popularity of contemporary Japanese ceramics to collectors and museums the world over.

1947 Born in Kyoto, Kyoto Prefecture, Japan / Lives and works in Kyoto

Selected Awards 1985 Grand Prize, the Faenza International Ceramic Exhibition 1992 Grand Prize, MOA Mokichi Okada Award 1997 !e Kyoto Prefecture Culture Prize, Prize for Artistic Merit 2008 Kyoto City Person of Cultural Merit 2012 Gold Prize, Japan Ceramic Society

Selected Exhibitions 1986 44th International Competition of Ceramic Art, Faenza, Italy Hetjens Museum, Düsseldorf, Germany 1987 Galerie Maghi Bettini, Amsterdam, !e Netherlands Galerie Maya Behn, Zürich, Switzerland Musée des Arts Decoratifs de la Ville de Lausanne, Switzerland 1993 Modern Japanese Ceramics in American Collections, Japan Society, New York / New Orleans Museum of Art / Honolulu Academy of Art, USA 1995 Japanese Studio Craft: Tradition and Avant-garde, Victoria & Albert Museum, London, UK 2002 Garth Clark Gallery, New York, USA 2003 Japan – Ceramics and Photography: Tradition and Today, Deichtorhallen, Hamburg, Germany !e Ruth and Sherman Lee Institute for Japanese Art at !e Clark Center, Hanford, USA 2005 Faenza International Ceramics Museum, Italy 2006 Contemporary Clay: Japanese Ceramics for the New Century, Japan Society Gallery, New York, USA Tôji: Avant-Garde et Tradition de la Cèramique Japonaise, Musèe national de cèramique Sèvres, France 2008 !e Dauer Collection, California State University, University Library Gallery, USA 2011 Purity of Form, !e Clark Center for Japanese Art and Culture, Hanford, USA Modern Celadon: Ambient Green Flow – the Emergence and Rise of East Asian Celadon, New Taipei City Yingge Ceramic Museum, Taiwan 2012 Vallauris Ceramics Biennale, France 2013 TEFAF Maastricht, !e Netherlands (’14, ’15, ’16, ’17, ’18, ’19, ’20, ’21) A Distant View: !e Porcelain Sculpture of Sueharu Fukami, Garden Pavilion, Portland Japanese Garden, USA 2014 Fukami Sueharu Porcelain Sculptures, Eric !omsen Japanese Art, New York, USA Art Stage Singapore, Singapore (’15, ’16, ’17) Art Miami, USA (’15, ’16, ’17, ’18, ’19) Celadon Now: Techniques and Beauty Handed Down From Southern Song to Today, National Museum of Modern Art, Tokyo / !e Museum of Ceramic Art, Hyogo, Japan (’15) 2016 Spring Masters New York, USA EAF Monaco, Monaco Art Taipei, Taiwan 2017 TEFAF New York Spring, USA !e Greatest Story Ever Told – !e collection curated by Ryan Gander, National Museum of Art, Osaka 2019 West Bund Art and Design, Shanghai, China (’20) Silhouettes of Tomorrow, Yufuku Gallery, London, UK Kichizaemon X | Fukami Sueharu x Kichizaemon XV – Raku Jikinyu, Sagawa Art Museum, Sagawa, Japan 2020 Reopening Celebration I ART in LIFE, LIFE and BEAUTY, Suntory Museum of Art, Tokyo, Japan Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan

Public Collections Victoria & Albert Museum, UK / !e 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 / !e British Museum, UK / Brooklyn Museum of Art, NY, USA / !e 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, 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 / !e Art Institute of Chicago, USA / !e National Museum of History, Taiwan / !e 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 / !e Japan Foundation, Japan / !e Ministry of Foreign A"airs, Japan / !e National Museum of Modern Art, Tokyo, Japan / !e National Museum of Art, Osaka, Japan / !e Shigaraki Ceramic Cultural Park, Japan / Tokoname City Education Bureau, Japan / Tsurui 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 / !e Museum of Fine Arts, Houston, USA / Harvard Art Museum, USA / Museum of Contemporary Art, Belgrade, Serbia / !e 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, 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 / !e Museum of Ceramic Art, Hyogo, Japan / Okada Museum of 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, 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, !e 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 / National Museum of History, Taipei, Taiwan 三原研 KEN MIHARA

Sei (Awakening) XXII

“Te sounds of the soul, I embrace in clay. It is this moment, to capture the fowing of life itself, I hope.” KEN MIHARA About the Artist About the Work 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 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 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 mysticism of ancient Shinto lore, Mihara’s solemn stoneware are borne and in%uenced from the use of glaze, the natural landscapes found on his hand-built facades are borne through deeply idyllic environs. His works are far more than odes to nature, however. !ey are, multiple, lengthy and di$cult kiln-#rings, with each #ring revealing a new element to a above all, a window into the artist’s soul, and are monuments of self-expression that capture work’s clay %avour that help to ‘unlock the memories trapped within clay.’ Yet perhaps most and convey the Ken Mihara of yesterday, today, and tomorrow. remarkable about Mihara is his ability to dramatically change styles over the years without diminishing the ‘essence’ found within his oeuvre. In fact, Mihara changes the physical 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 the Victoria & Albert Museums, Mihara’s unglazed, multi-fired works have captivated new vistas. a global audience, propelling the artist to become one of the premier artists within 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 #rst revealed at A Lighthouse called 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 %avour, his trademark blues and greys, the way his bases are elevated and executed with absolute precision, the seemingly classical, time-tested presence that brims from his minimal silhouettes, that are unmistakable for any other artist, and which have not changed throughout the years. Ultimately, Mihara, Izumo and clay cannot be separated. !ey are one. 1958 Born in Izumo, Shimane Prefecture, Japan / Lives and works in Izumo

Selected Awards 1989 Prize, Japan Ceramic Art Exhibition (’91, ’95, ’08) 1992 Prize, Chanoyu-no-Zokei Exhibition (’94, ’02, ’03, ’04, ’10) Prize, International Ceramic Art Festival, Mino 1993 Governor's Prize, Japan Traditional Arts and Crafts Exhibition, Chugoku Division 1995 Award of Excellence, Chanoyu-no-Zokei Exhibition (’05, ’06) 1997 Prize, Unglazed Ceramic Public O"ering Exhibition 2001 Grand Prize, Chanoyu-no Zokei Exhibition (’08) 2006 Award, Paramita Ceramics Competition, Paramita Museum 2008 Japan Ceramic Society Award

Selected Exhibitions 1997 Yufuku Gallery, Tokyo, Japan (’98, ’99, ’00, ’02, ’03, ’05, ’06, ’07, ’09, ’11, ’13, ’15, ’18) 2002 International Asia-Paci#c Contemporary Ceramics Invitational Exhibition, Yingge Ceramics Museum, Taiwan 2008 Collect 2008, Victoria & Albert Museum, London, UK Joan B. Mirviss Ltd., New York, USA (’11) 2009 Collect, Saatchi Gallery, London, UK (’10, ’11, ’12, ’13,’14,’15) 2010 Ken Mihara and Shihoko Fukumoto, Galerie Besson, London, UK 2012 Japan Zu Gast, Galerie Marianne Heller, Heidelberg, Germany 2013 TEFAF Maastricht, !e Netherlands (’14, ’15, ’16, ’17, ’18, ’19, ’20, ’21) Serenity in Clay, Liverpool Street Gallery, Sydney, Australia 2014 Art Stage Singapore, Singapore (’15, ’16, ’17) Tales Entwined as One – Shigekazu Nagae and Ken Mihara Exhibition, Yufuku Gallery, Tokyo, Japan Clark Art Institute Opening Exhibition, USA Art Miami, USA (’15, ’16, ’17, ’18, ’19) 2015 Kei by Ken Mihara, Galerie Marianne Heller, Germany 2016 Spring Masters New York, USA EAF Monaco, Monaco – Kei – Memories in Clay, Japan Creative Centre / Mulan Gallery, Singapore Art Taipei, Taiwan 2017 TEFAF New York Spring, USA 2018 Seattle Art Fair, USA (’19) 2019 Ken Mihara – IDYLLICAL SCULPTURES, Mayaro, Paris, France 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) 2020 Sei (Awakening), A Lighthouse called Kanata, Tokyo, Japan Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan 2021 Art Fair Tokyo, Japan

Public Collections 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 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 / !e Gotoh Museum, Japan / Herbert F. 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 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 / !e Museum of Asian Art, Germany / Walters Art Gallery, USA / Brooklyn Museum, USA / Asian Art Museum, USA / Lotte Reimers-Stiftung, Germany / Grassi Museum, Germany / !e Japan Foundation, Japan / Embassy of Japan (Japan Creative Center), Singapore / Mint Museum, USA / Musée Ariana, Switzerland / Musée Cernuschi, France / Mashiko Museum of Ceramic Art, Japan / Ibaraki Ceramic Art Museum, Japan

Sei (Awakening) XVI ()

生田丹代子 NIYOKO IKUTA

Ku-153 (Free Essence-153)

2021 Cut, laminated sheet glass H38.5 x W36 x D47 cm H15 x W14 x D18.5 in YOSHIRO KIMURA “I wish to create wors that help the iewer feel eternity in a single glance.” “e image that impresses itself on the iewer represents the true and nal nature of my wor.” NIYOKO IKUTA 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 !e 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 in#uenced by the philosophies behind Zen Buddhism and the Way of Tea, Kimura light to dark blues, in particular where his glazes pour and #ow 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. !rown 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 $rst 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 $rst-hand the vivid colours of the glaze was developed during his twenties, and with age, Kimura has been able to mature collectors and museums the world over for her dynamic sculptures, executed with emphatic of reality and existence as being di"erent yet “true” to each and every individual. !e reality Aegean Sea and the Paci$c 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 di"erent from the reality experienced by another, even natural beauty in his ceramic works. Kimura has received great acclaim for his signature and consecutive $rings of great di%culty. One can also discover linear motifs etched upon institutions such as the Metropolitan Museum in New York and the Victoria & Albert though they are equally true. Likewise, Ku changes completely at each and every angle, bold hekiyu (blue glaze), with his works being collected by museums throughout the world, the surfaces of his clay bodies, which further accentuate his blues and which add an extra Museum in London, Ikuta’s works continue to inspire generations of younger artists. yet each individual viewer, even from different viewpoints, will still experience its true including the British Museum, the Musée national de céramique-Sèvres, the Victoria & dimension to his objects. Ultimately, Kimura draws upon and limns the beauty of the sky self. !e iridescent rhythms of glass, captured herein, sparkling, riveting, and ultimately, Albert Museum in London, and the Museo Art Nouveau y Art Déco in Salamanca, Spain, and oceans into his beautiful blues, often a"ectionately called ‘Kimura Blue’ by a$cionados 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 !e Sanyo 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, !e 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 !e National Museum of Art Osaka, Japan 2012 Giappone Terra Di Incanti, Palazzo Pitti, Florence, Italy 2003 !e Glass 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, !e Corning Museum of Glass, New York, USA 2014 Art Stage Singapore, Singapore (’16, ’17) 2011 Yufuku Gallery, Tokyo, Japan TEFAF Maastricht, !e 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, !e Netherlands (’15, ’16, ’17, ’18, ’19, ’20, ’21) 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 !e 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, !e 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 / !e National Museum of Modern Art, Tokyo, Japan / !e 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 / !e 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 / !e 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 / !e 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 / !e Japanese Embassy, Vietnam / Tokyo Memorial Park, 2020 Kyoto: Capital of Artistic Imagination, the Metropolitan Museum of Art, New York, USA Japan / !e Kobe Shimbun, Japan / !e Kobe Shimbun Matsukata Hall, Japan / P$zer 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 / !e Peninsula Tokyo, Japan / Shima Kanko Hotel Bay Suite, Japan

76

田中信行 NOBUYUKI TANAKA

aie e

ae e in “sing lacuer to reeal an inner world, I transform contemporary space.” NOBUYUKI TANAKA About the Artist About the Work Lacquer is a virtually transparent material used to coat in"nite layers upon layers upon bare Tanaka’s sculptures test the boundaries of dry lacquer, called kanshitsu in Japanese and surfaces, thereby imbuing these surfaces with a nearly eternal, even indestructible quality. a technique often associated with the traditional Buddhist sculptures of the Kamakura 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 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 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 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 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 hegemony of the Western narrative within modern and contemporary art. stone, thereby giving his facades an almost mirror-like lustre that not only re!ects light but literally absorbs and engulfs its surroundings, infectiously pulling the viewer into its Collected by major institutions such as the Metropolitan Museum in NYC and in!uential seductive grasp. For TEFAF 2021, Tanaka has created a free-standing vertical sculpture in contemporary art museums such as the Mori Art Museum in Tokyo and the 21st Century red lacquer for the very "rst time, marking a departure from his emphasis on black lacquer Museum of Contemporary Art in Kanazawa, Tanaka’s radiant sculptures in lacquer are as the sole means of expression for his signature vertical forms. towering odes to space itself, challenging the viewer to almost question whether his or her re!ection appearing on the surfaces of his works are in fact manifestations of other realms and dimensions unknown. His genius lies in his ability to manipulate the unique qualities 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 Tokyo University of the Arts, MFA Lives and works in Kanazawa

Selected Awards 2003 Takashimaya Art Award, Takashimaya Culture Foundation 2012 #e 18th MOA Mokichi Okada Prize craft arts section award

Selected Exhibitions 1996 Japan Society Gallery, New York / Denver Art Museum, Colorado, USA 2004 MODERN MASTERS & COLLECTION, 21st Century Museum of Contemporary Art, Kanazawa, Ishikawa, Japan 2005 Ars Nova-Between the Contemporary Avant-garde Art and the Crafts, Museum of Contemporary Art, Tokyo, Japan 2008 JAPAN! CULTURE ＋ HYPER CULTURE Exhibition, Kennedy Center, Washington, USA 2009 Nizayama Forest Art Museum, Toyama, Japan 2012 New Footing – Eleven Approaches to Contemporary Crafts, #e National Museum of Modern Art, Tokyo, Japan 2013 Kuroda Tatsuaki, Tanaka Nobuyuki – #e Power of Lacquer, Toyota Municipal Museum of Art, Japan Hubei International Triennial of Lacquer Art 2013, WORLD OF GREAT LACQUER ORIGIN AND FLOWS, Hubei Museum of Art, China #e Audacious Eye, Japanese Art from the Clark Collection, Minneapolis Institute of Arts, Minnesota, USA 2014 TEFAF Maastricht, the Netherlands (’15, ’16, ’17, ’19, ’20, ’21) Collect, Saatchi Gallery, London, UK (’15) Art Miami 2014, Miami, USA (’15, ’16) 2015 Simple Forms – Contemplating Beauty, MORI Art Museum, Tokyo, Japan Contemporary Art in Rakusui-tei, Rakusui-tei Museum of Art, Toyama, Japan 2016 Imaginary Skin, #e Ueno Royal Museum, Tokyo, Japan Imaginary Skin, Kanazawa Art Gummi, Kanazawa, Japan 2017 TEFAF New York, New York, USA OKU-NOTO TRIENNALE, Ishikawa, Japan Hard Bodies: Contemporary Japanese Lacquer Sculpture, Minneapolis Institute of Art, USA Flowing Water and Tactile Water, Hagi Uragami Museum, Japan 2018 KOGEI Architecture Exhibition, 21st Century Museum of Contemporary Art, Kanazawa, Japan URFORMEN – Nobuyuki Tanaka, Primordial Memories, Museum Pfalzgalerie Kaiserslautern, Germany 2019 Images of Asia: #e East as Longed-for Other in Japanese Art, Tokyo Metropolitan Teien Art Museum, Japan URFORMEN – Nobuyuki Tanaka, Primordial Memories, Museum fur Lackkunst, Munster, Germany West Bund Art and Design, Shanghai, China (’20) 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan

Public Collections Hiroshima Prefectural Art Museum, Japan / #e Japan Foundation, Japan / #e Museum of Fragrance, Japan / Toyota Municipal Museum of Art, Japan / SHISEIDO Art House, Japan / 21st Century Museum of Contemporary Art, Kanazawa, Japan / Utatsuyama Craft Workshop, Japan / Rakusui-tei Museum of Art, Japan / #e 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 / #e National Museum of Modern Art , Tokyo / Museum Pfalzgalerie Kaiserslautern, Germany / Museum für Lackkunst, Munster, Germany

Selected Commission Works Chugai Pharmaceutical Co., Ltd., Japan / Conrad Tokyo, Japan / #e Peninsula Tokyo, Japan / Oracle Corporation, Japan / Double Tree By Hilton, China / Urabandai Kogen Hotel, Japan aie e Aenae View MANA KONISHI 小 西 真 奈

Waterfall - Green

2015 oil on canvas H91 × W117 cm 35.846 MANA KONISHI 小西真奈 About the Artist About the Work As a graduate student, Mana Konishi (b. 1968 –) was an apprentice under Grace Hartigan - a Every summer I was delighted to visit my sister who lives on a remote island in Okinawa. female artist who supported fellow Abstract Expressionist painter Willem de Kooning from One year, we had the chance to visit a waterfall that only the local residents knew about. The atmosphere was lively, with children frolicking at the basin of the waterfall that was the 1960s. Konishi has described the motivation behind her work as follows: 'The fun surrounded by a thick green forest. It was an exhilarating moment, as it was as if we had thing about painting is that every mark you make leads you to the next stage... entered a completely different world. Narrative is not my intention, but people could "read" my paintings.' As with her landscape work, Konishi first either takes or finds photographs of her subjects. These give her a general sense of composition and detail. Once she begins working on canvas, the original, photographic image becomes more personal - a selective record of the subject's style, pose, and expression. At first glance, her brush strokes seem to be realistic. However, when taking a closer look, you will start to see just how bold and carefree her strokes are, which creates a unique landscape that seems almost imaginary to its viewers.

1968 Born in Tokyo, Japan 1993 BFA Graduated from Corcoran School of Art, Washington DC, USA 1996 MFA Completed Master Course at Maryland Institute College of Art, Hoffberger School of Painting, Baltimore MD, USA

Selected Awards 2006 "VOCA" Award, Committee for the Exhibition"VOCA", Tokyo 2002 "The S&R Washington Award", The S&R Foundation, Washington DC 1998 "Grants in Aid Fellowship", DC Commission for the Arts and Humanities, Washington DC 1995 "The Graduate Painting Award", Maryland Institute College of Art, Baltimore MD, USA 1994 "Maryland Institute International Graduate Fellowship – Tuition Award", Maryland Institute College of Art Baltimore MD, USA

Selected Solo Exhibitions Selected Solo Exhibitions 2019 “New Angle #1 - Toward the Spring” Pumice Tuff, Tokyo, Japan 2018 “In the Woods” Forager, Tokyo, Japan 2018 “Greener Than Green” MINA-TO(Spiral), Tokyo, Japan 2018 “Greenhouse Portraits” CAY, Tokyo, Japan 2016 “On Location” ARATANIURANO, Tokyo, Japan 2014 “Reflection” ARATANIURANO, Tokyo, Japan 2011 “Alex”ARATANIURANO, Tokyo, Japan 2009 “Portraits” ARATANIURANO, Tokyo, Japan 2007 "Nowhere in Particular", Dai-ichi Life Gallery / ARATANIURANO, Tokyo 2006 "Summer Island", Space Kobo & Tomo, Tokyo 2006 "Monkey Beach & Ryugu", Space Kobo & Tomo, Tokyo 2006 "Kinkazan", Space Kobo & Tomo, Tokyo 2006 "VOCA 2006 The Vision of Contemporary Art", Ueno Royal Museum, Tokyo 2005 "Dream Days", Space Kobo & Tomo, Tokyo 2004 "Studies", Space Kobo & Tomo, Tokyo 2004 "Project N19", Tokyo Opera City Art Gallery, Tokyo 2003 "Beautiful Place", Space Kobo & Tomo, Tokyo

Selected Group Exhibitions 2018.6 “La Botanica” MANSEI BRIDGE, Tokyo, Japan 2010 “Small Paintings”, ARATANIURANO, Tokyo, Japan 2009 "Mountains and Valleys", ARATANIURANO, Tokyo, Japan Awards 2009 "From the Collection 030: 10th Anniversary Exhibition – Garden of Resonance", Tokyo Opera 2006 "VOCA" Award, Committee for the Exhibition "VOCA", Tokyo City Art Gallery, Tokyo 2002 "The S&R Washington Award", The S&R Foundation, Washington DC 2008 "Sense through Mind, Body, and Spirit", Forever Museum of Contemporary Art, Akita 1998 "Grants in Aid Fellowship", DC Commission for the Arts and Humanities, Washington DC 2008 "LuLuLu Landscape : How I see the world around me,", Shizuoka Prefectural Museum, 1995 "The Graduate Painting Award", Maryland Institute College of Art, Baltimore MD, USA Shizuoka 1994 "Maryland Institute International Graduate Fellowship – Tuition Award", Maryland Institute College of Art 2008 "Art and Ecology - Ecosopy in Practice I", EYE OF GYRE, Tokyo Baltimore MD, USA 2005 "A Lunch", AXIS Gallery ANNEX, Tokyo 2005 "24th Outstanding Rising Artists Exhibition by Sompo Japan Fine Art Foundation", Seiji Togo Public Collections Sompo Japan Museum of Art, Tokyo Gakushuin Women’s College, Tokyo, Japan / The Museum of Modern Art, Kamakura & Hayama, Kanagawa, 1998 "DC Commission on the Arts Fellowship Recipients Exhibition", Washington DC Japan / The Dai-ichi Life Insurance Company, Limited, Tokyo, Japan / Fuchu Art Museum, Tokyo, Japan / 1995 "Superbia – Biennial Emerging Artists Exhibition", WPA, Washington DC Yokohama Museum of Art, Tokyo, Japan / Takahashi Collection, Tokyo, Japan / Terada Collection, Tokyo, Japan / 1993 "Walk the Goddess Walk – Multi Media Exhibition", DCAC, Washington DC The Jean Pigozzi Collection, Geneva, Swiss 米元優曜 MASAAKI YONEMOTO

Sscraer

2020 olished, laminated sheet glass H75 × W19.5 × D13 cm H29.5 × W7.6 × D5.1 in “eyond the edges and silhouettes of my abstract glass lay innite space, the icissitudes of life, and a spiritual world of purity.” MASAAKI YONEMOTO About the Artist About the Work If the metropolises of the next millennium are futuristic pyramids in glass, Masaaki Appearances can be deceiving. At !rst glance, Yonemoto’s glass sculptures look as if they Yonemoto’s (b. 1987 –) skyscrapers would reign bright in the night sky, glistening softly are made from a solid block of carved glass. "is is far from truth. In fact, his glass prisms 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 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 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 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 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 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 major sculptural material. edges of the glass, carving only a millimetre at a time to discover the ideal silhouette in his mind’s eye. "is process takes up to two weeks to perform until he can sculpt the glass into a riveting form ‘shorn of excess.’ Next, the artist takes nearly two weeks to polish the entirety of his glass facades with cerium oxide, ensuring that the work shines without damaging or causing cracks to his distinctive edges. Free-standing and balanced without any need of a base, Yonemoto’s seductive glass sculptures point to the future of glass as a 1987 Born in Yamaguchi Prefecture, Japan compelling medium for contemporary sculpture. 2010 Kurashiki University of Science and the Arts 2012 Toyama Institute of Glass, MFA 2017 Moves studio from Toyama to Yamaguchi / Lives and works in Yamaguchi

Selected Awards 2010 Dean’s Award, Kurashiki University of Science and the Arts 2011 Award of Excellence, Tokyo Midtown Award Special Award (Second Prize), 4th Contemporary Glass Triennial in Toyama Head of Board Award, Toyama Chamber of Commerce Ecchu Art Grand Prize, Ecchu Art Festival President Award, "e Kitanippon Shimbun Exhibition 2012 Created the Winners’ Trophy for Tokyo Midtown Award Design & Art Competition Award of Excellence (Second Prize), 5th Contemporary Glass Exhibition in Sanyo Onoda Award of Excellence, Ecchu Art Festival Toyama Prefectural Artistic and Cultural Association Award 2013 Selected, Cheongju International Craft Biennale Gold Prize, 7th Snow Design Competition 2014 Grand Prize, Art Fair Toyama Art Award (’16) 2015 Izak Prize, Art Fair Toyama Art Award

Selected Exhibitions 2009 4th Contemporary Glass Exhibition in Sanyo Onoda, Yamaguchi, Japan Takaoka Crafts Competition, Daiwa Takaoka, Japan 2010 3rd Glass Education Network (GEN) Exhibition, Tokyo Metropolitan Art Museum, Japan 2011 Tokyo Midtown Award, Tokyo Midtown, Japan (’12) 4th Contemporary Glass Triennial in Toyama, Japan 50th Japan Craft Exhibition, Tokyo, Japan 2012 Roppongi Art Night, Tokyo Midtown, Japan 5th Contemporary Glass Exhibition in Sanyo Onoda, Yamaguchi, Japan 11th Oita Asian Sculpture Exhibition, Japan Décor of Summer, Rakusui-tei Museum of Art Exhibition, Toyama, Japan Toyama City New Glasswork Acquisition Exhibition, Japan 2013 Collect, Saatchi Gallery, London, UK (’14, ’15) SOFA Chicago, USA (’14, ’15) Cheongju International Craft Biennale, South Korea 2014 Art Stage Singapore, Singapore (’15, ’16, ’17) Asia Week New York, USA TEFAF Maastricht, "e Netherlands (’15, ’16, ’17, ’18, ’19, ’20, ’21) Clark Art Institute Opening Exhibition, Massachusetts, USA "e Beauty of Materials – Group Exhibition, Galerie Marianne Heller, Germany Art Miami, USA (’15, ’16, ’17, ’18, ’19) 2016 Spring Masters New York, USA EAF Monaco, Monaco Art Taipei, Taiwan 2017 TEFAF New York Spring, USA 2018 Palm Beach Modern + Contemporary, USA Seattle Art Fair, USA (’19) 2019 Silhouettes of Tomorrow, Yufuku Gallery, London, UK 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan West Bund Art and Design, Shanghai, China 2021 Art Fair Tokyo, Japan

Public Collections Toyama Glass Art Museum, Japan Tokyo Midtown, Japan Nakaya Ukichiro Museum of Snow and Ice, Japan

SATORU OZAKI 尾崎悟

Now and Here VIII

Hammered, polished stainless steel H125 × W82 × D65 cm SATORU OZAKI “To create a wor more natural than nature itsel. ithin it, a world of harmony, purity and the serene.” “rt is a way of liing, and for me, an armation of life.” NAOKI TAKEYAMA 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 "uid, 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 #nish 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 re"ections 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 "urry 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 #nding 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 #res again, with the process repeated more than Form) and the artists a%liated with A Lighthouse called Kanata, Ozaki has sprung forth Embracing the "eeting, 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. !en, 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 di$erent paths of life that will one day meet 2015. Takeyama’s metalwork is widely seen as a stunning reinterpretation of an age-old art, leaf onto the body in an electric kiln, coats the work with a transparent glaze to entrap the that are now captivating audiences the world over. as one. In other words, the two-pointed tips of the work symbolize two di$erent 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 "ux, 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, "owing, 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 #gure 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. !e 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, !e National Museum of Modern Art, Tokyo, Japan 2013 TEFAF Maastricht, !e 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, !e 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 !e Modern 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 / !e National Museum of Modern Art, Japan / !e Enamel Arts Foundation, USA / !e Philadelphia Museum of Art, USA / !e Yale University Tokyo University of the Arts, Japan Art Gallery, USA / Grassi Museum, Leipzig, Germany / !e Design Museum, Germany Metal Art Museum, Chiba, Japan Long Museum, Shanghai, China

89

e wa (2020) Hammered, polished stainless steel H58 x W176 x D130 cm in

NAOKI TAKEYAMA 武山直樹

Hakuai (A ousand Years)

2021 Enamelled copper, gold leaf H36 × W40 × D33 cm

53 “rt is a way of liing, and for me, an armation of life.” NAOKI TAKEYAMA About the Artist About the Work 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 of enamelling metal with an electric modernity, his highly distinctive creations calling for TEFAF embody the many elements that have brought Takeyama critical acclaim. 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 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 Takeyama has been recognised with a #urry 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 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 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 the National Museum of Modern Art, Tokyo in 2012, the Philadelphia Museum of Art in electric kiln, re-applies enamel, dries, and "res again, with the process repeated more than 2014, the Yale University Museum of Art and the Grassi Museum in Leipzig, Germany in 10 times. !en, the artist applies gold leaf to the entirety of the work, and after fusing the 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 ultimately proposing to metal a wealth of new possibilities. leaf within the body of the work. As if in a state of constant #ux, Takeyama’s enamelled works are an exquisite collaboration between metal and maestro.

1974 Born in Toyota, Aichi Prefecture, Japan 1999 Tokyo University of the Arts, MFA Lives and works in Toyota

Selected Awards 1997 Ataka Prize, Tokyo University of the Arts 1999 Prize, National Japan Gold & Silver Works Exhibition Salon de Printemps Prize, Tokyo University of the Arts Prize, 33rd International Enamelling Art Exhibition 2000 Grand Prize, Japanese Crafts Exhibition Prize, 34th Japan Enamelling Art Exhibition 2001 Toyota Cultural Prize, Aichi Prefecture Gold Prize, I.H.M TALENT, Germany Vielun Prize, TALENT, Germany 2002 Award, Japan Jewellery Arts Competition 2002 2005 Juror's Special Prize, 7th National Ceramics Competition, Mino 2010 Art Fund Prize, Collect (’11) 2012 Nominated, Okada Mokichi Prize, MOA Museum of Art (’14)

Selected Exhibitions 2003 METALLFORMEN, Germany and Italy 2005 Exempla, Germany 2007 Solo Exhibition, Yufuku Gallery, Tokyo, Japan (’10) 2008 A Japanese Dialogue, Scottish Gallery, UK Collect, Victoria & Albert Museum, London, UK 2009 Collect, Saatchi Gallery, London, UK (’10, ’11, ’12, ’13, ’14, ’15) Quest Gallery, Bath, UK 2012 Art Fair Tokyo, Japan (’13, ’21) New Footing: 11 Approaches to Contemporary Craft, !e National Museum of Modern Art, Tokyo, Japan 2013 TEFAF Maastricht, !e Netherlands (’14, ’15, ’16, ’17, ’18, ’19, ’20, ’21) Artfully Connected, Embassy of Sweden, Tokyo, Japan 2014 Art Stage Singapore, Singapore (’15, ’16, ’17) Solo Exhibition, Asia Week New York, USA Clark Art Institute Opening Exhibition, USA Art Miami, USA (’15, ’16, ’17, ’18, ’19) 2015 Japan!, Paris, France 2016 Spring Masters New York, USA EAF Monaco, Monaco Art Taipei, Taiwan 2017 TEFAF New York Spring, USA 2018 Palm Beach Modern + Contemporary, USA Seattle Art Fair, USA (’19) 2019 Decorative Arts in Meiji and Heisei: Crafting Beauty Across 150 Years, Museum of Greek Modern Culture, Greece Silhouettes of Tomorrow, Yufuku Gallery, London, UK 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan

Public Collections Toyota City, Japan / Tokyo University of the Arts, Japan / Victoria & Albert Museum, UK / Manchester City Art Gallery, UK / Birmingham Museum & Art Gallery, UK / Plymouth City Museum & Art Gallery, UK / !e National Museum of Modern Art, Japan / !e Enamel Arts Foundation, USA / !e Philadelphia Museum of Art, USA / !e Yale University Art Gallery, USA / Grassi Museum, Leipzig, Germany / !e Design Museum, Germany Mitsu (Enrapture)

TAKAFUMI ASAKURA 朝倉隆文

e Transcendence of the Primordial Heavens

2021 Black ink on aluminum leaf, mounted on 3 panels H184.2 × W280.5 cm TAKAFUMI ASAKURA “y fountain of inspiration ows from the material that is blac in.” 朝倉隆文 About the Artist About the Work Takafumi Asakura (b. 1978 –) pours into his poetry in ink a zeitgeist for the 21st century, !e artist’s lyricism stems from his ability to juxtapose the traditional with the progressive, displaying technical virtuosity whilst experimenting with abstraction and the avant- with the ancient material that is black ink painted upon the most contemporary of 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 style paintings. Negative space is "lled entirely with ancient calligraphy, whilst beacons of for the metaphysical incarnations of the gods in abstraction. For his latest work “The 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 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 that spellbind, enthrall, enrapture. Indeed, Asakura’s meticulous paintings are mesmerising artist’s trademark calligraphy "lling the negative space with text taken word for word from 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 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 with copious, painstaking detail. immediate urgency of mythic proportions that is at once epic and visceral, poignantly capturing the above and beyond. One of the youngest painters to become a juror at the Nitten Japan Fine Arts Exhibition, Takafumi Asakura’s story has only just begun, with works already acquired by 8 public collections in both Japan and the United States, and with a growing recognition in artistic circles the world over.

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) 2003 Nisshun Fine Arts Exhibition (’04, ’05, ’06, ’07, ’08, ’09, ’10, ’11, ’12, ’13, ’14, ’15, ’16, ’17, ’18) 2010 Special Selection Award, Nitten Japan Fine Arts Exhibition (’12) 2013 Work awarded Special Selection, Nisshun Fine Arts Exhibition 2015 Juror, Nitten Japan Fine Arts Exhibition

Selected Exhibitions 2003 Shirota Gallery, Tokyo, Japan 2010 Yufuku Gallery, Tokyo, Japan (’11, ’12) 2012 Art Fair Tokyo, Japan (’13, ’21) Takashimaya Department Store, Tokyo, Japan 2013 Collect, London, UK (’14, ’15) TEFAF Maastricht, !e Netherlands (’14, ’15, ’16, ’17, ’18, ’19, ’20, ’21) 2014 Art Stage Singapore, Singapore (’15, ’16, ’17) Asia Week New York, USA Resonances, Galerie Pierre Bonne"lle, Paris, France Art Miami, USA (’15, ’16, ’17, ’18, ’19) 2016 Spring Masters New York, USA EAF Monaco, Monaco Art Taipei, Taiwan 2017 TEFAF New York Spring, USA Of Legends and Lore – Japanese Ink Paintings by Takafumi Asakura, Serindia Gallery, Bangkok, !ailand 2018 Seattle Art Fair, USA (’19) Takafumi Asakura, Taimei Gallery, Tokyo, Japan 2019 Nihonga Now, Masterpiece London, London, UK West Bund Art and Design, Shanghai, China (’20) 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan

Public Collections Spencer Museum of Art – University of Kansas, Lawrence, Kansas, USA / !e Frances Lehman Loeb Art Centre – Vassar College, Poughkeepsie, NY, USA / Minneapolis Institute of Art, Minnesota, USA / !e Kennedy !eatre, University of Hawaii, Honolulu, USA / Okamura Tenmangu Shrine, Yokohama, Japan / Osannomiya Hie Shrine, Yokohama, Japan / Takaoten Shrine, Hachioji, Japan / Jujusan Asakawa Kotohira Daigongen Shrine, Hachioji, Japan

Selected Commission Works Hotel !e Mitsui Kyoto, Japan

!e Manifestation of Light by Takafumi Asakura (2020) Black-ink on aluminum leaf, mounted on 4 individual panels H65.7 x W129.9 in H167 x W330 cm

杉谷恵造 KEIZO SUGITANI

Shadows Crossing

2019 Stoneware with glaze H40 × W20.5 × D9.5 cm H15.7 × W8 × D3.7 in KEIZO SUGITANI “To capture a man and a woman, in loe, together, in raw, primitie harmony, where shadows combine as one.” 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 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 itself, the story of mankind falling in love, embracing, the miracle that is life, the wonder their simple complexity. !e artist, after blending a base white clay, begins the rigorous 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 in their unadorned patina yet brimming with the energy of both Eros and Thanatos, smoothening the surfaces, the artist bisque-"res the work, and then applies an original glaze Sugitani’s ceramic sculptures are odes to the primordial beauty of mankind, our life history "lled with copper that, after a main "ring in his gas-kiln, gives his works a distinctive patina told as the uni"cation 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 shadows revealing a visceral elegance brimming with the sheer urgency of now, imbued the artist’s sculptures masks the di#culty of "ring such towering totems in clay, and hide, 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 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 rustic green and copper hues emerging from the depths of his greyish black glaze, works shadows, di$erent worlds interconnected in the winding road that we call life. elegantly hand-built in innocent grandeur.

Calling to mind the abstractions of Eduardo Chillida, Barbara Hepworth and Isamu Noguchi, there is a primal rawness to Sugitani's works that limn the Primitivism of the 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 di$erent peoples that comprise society itself.

1959 Born in Osaka Prefecture, Japan 1982 Ceramic Art Institute of Tekisui Museum of Art Lives and works in Osaka

Selected Awards 1996 Prize, All Kansai Art Exhibition (’97) 1998 Selected, Asahi Ceramic Exhibition (’99) 2017 Selected, !e 11th International Ceramics Competition Mino

Selected Exhibitions 2014 !e Promise – Keizo Sugitani Solo exhibition, Yufuku Gallery, Tokyo, Japan Collect, Saatchi Gallery, London, UK (’15) 2015 Art Miami, USA (’16, ’17, ’18, ’19) 2016 Art Stage Singapore, Singapore (’17) TEFAF Maastricht, !e Netherlands (’17, ’18, ’19, ’20, ’21) Shadows Crossing – Keizo Sugitani Solo exhibition, Yufuku Gallery, Tokyo, Japan Spring Masters New York, USA EAF Monaco, Monaco Art Taipei, Taiwan 2017 TEFAF New York Spring, USA 2018 Shadows Crossing II – Keizo Sugitani, Yufuku Gallery, Tokyo, Japan Seattle Art Fair, USA (’19) 2019 Shadows Crossing – Keizo Sugitani Solo exhibition, Gallery Maronie, Kyoto, Japan West Bund Art and Design, Shanghai, China (’20) Silhouettes of Tomorrow, Yufuku Gallery, London, UK 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan SCULPTURE AND PAINTING – Keizo Sugitani and Arvid Boecker, Galerie Marianne Heller, Heidelberg, Germany

Public Collections !e Horvitz Collection, USA

佐藤健太郎 KENT ARO SA TO

Serenity VII

2020 Japanese pigments on Japanese paper, mounted on 3 individual panels H71.6 x W107.4 in H182 x W273 cm “To be one with naturesuch is the starting point of my paintings. et perhaps this is but the act of liing life itsel.” KENTARO SATO About the Artist About the Work 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”, 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 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 spirit. #e genre of Nihonga (Japanese painting using natural pigments and minerals) in certain colours or motifs within !gurative compositions, it is rarely, if not ever, used within 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 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 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 with subject matter and compositions of a plastic realism that are di$cult to distinguish stones and minerals that have been ground into powder form. With serenely enigmatic from Western oil painting. colours that help ignite the imagination and evoke visceral feelings of an innate, sublime world within, Sato’s works are far removed from the re!ned, !gurative and detailed works 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 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 recognition within the eyes of Western collections by focusing on paintings that are !lled the blues derived from Lapis Lazuli, the whites from seashell powder, and the greens 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 and motifs that brim with progressive innovation. Sato is one such youthful artist who is "ow 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. #e resulting paintings are inner landscapes that call to mind the traditions of Western abstract expressionism, yet with a uniquely Japanese aesthetic.

1990 Born in Miyagi Prefecture, Japan 2015 Tama Art University, MFA / Lives and works in Miyagi

Selected Awards 2015 Scholarship of Merit, Sato International Cultural Scholarship Foundation Scholarship of Merit, Kamiyama Foundation 2017 Scholarship of Merit, Tama Art University Selected, Next Art Exhibition, #e Asahi Shimbun Social Welfare Organization, Japan Chairman’s Award, 3rd Annual Kamiyama Foundation Prize 2019 Miyagi Prefecture Art Society Award, Painting Section, Miyagi Prefectural Art Festival, Japan 2020 Selected, 9th Artist Group – Wind – Exhibition, Tokyo Exhibition Grant, #e Yoshino Gypsum Art Foundation

Slected Exhibitions 2013 Group Exhibition, Ginza Mitsukoshi Department Store, Tokyo, Japan Group Exhibition, Gallery Q, Tokyo, Japan (’14, ’15, ’16 ’19) 2014 Group Exhibition, Itochu Aoyama Art square, Tokyo, Japan (’15, ’16) YW Gallery, Tokyo, Japan Tower Hall Funabashi, Tokyo, Japan 2015 Kentaro Sato Solo Exhibition, Gallery Q, Tokyo, Japan Group Exhibition, Isetan Shinjuku Department Store, Tokyo, Japan (’16) Group Exhibition, #e National Art Center, Tokyo, Japan Group Exhibition, Jinen Gallery, Tokyo, Japan Group Exhibition, GALLERY ARTPOINT, Tokyo, Japan Ginza Surugadai Gallery, Tokyo, Japan (’20) Gallery Art Point, Tokyo, Japan Hakkendo Gallery, Tokyo, Japan 2016 Kentaro Sato Solo Exhibition, Art Space 88, Tokyo, Japan Group Exhibition, FEI ART MUSEUM YOKOHAMA, Japan #e Sato Museum of Art, Tokyo, Japan 2017 Circulating Water, Place to Return, galleria gra!ca bis, Tokyo, Japan Art Miami, USA (’19) V Bienal de Art Maison Japón 2017, Círculo de Bellas Artes, Madrid, Spain Kamiyama Foundation Exhibition, Ginza Art Hall, Tokyo, Japan 2018 TEFAF Maastricht, #e Netherlands (’19, ’20, ’21) Palm Beach Modern + Contemporary, USA Galleria Gra!ca Tokio, Japan Seattle Art Fair, USA (’19) 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 #e 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

横山修 OSAMU YOKOYAMA

air

2021 Bamboo, rattan H98 × W108 × D50 cm H28.6 × W42.5 × D19.7 in “amboo is naturally beautiful, so it is the artist who must strie to bring out a beauty that surpasses its natural allure.” OSAMU YOKOYAMA About the Artist About the Work !e 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 represent the foundations of Japanese beauty, cherished for centuries on this island contemporaries in that his works are predominantly ‘bound’ rather than ‘woven’, thereby 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 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 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 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 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 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 contemporary art. !e youthful Osamu Yokoyama (b. 1980 –) is one such artist, who "nds that can only be realised by bamboo. within bamboo an ideal material for self-expression. For it is within its bends and curves, its ability to be cut, bound and stretched to its limits, that one can "nd the meandering, ethereal and poignant vicissitudes of life itself.

Yokoyama does not hail from a storied lineage or distinct tradition, unlike many of the 3rd or 4th generation bamboo artists working today. Instead, Yokoyama was a graphic designer who eschewed a salaried position to delve into the world of bamboo, taking his wife and young daughter to Beppu, the mecca of Japanese bamboo art, and apprenticing to leading bamboo artist Jin Morigami. To capture a beauty unable to be expressed by any other means, Yokoyama wields bamboo with the resolute urgency of now.

1980 Born in Matsumoto, Nagano Prefecture, Japan 2016 Apprenticeship, Jin Morigami Studio Lives and works in Beppu

Selected Awards 2015 New Artist Award, !e 20th Japan Bamboo Art Exhibition Honourable Award, !e 55th Japan Crafts Exhibition 2016 Award of Excellence, !e 21st Japan Bamboo Art Exhibition 2018 Grand Prize, !e 23rd Japan Bamboo Art Exhibition

Selected Exhibitions 2016 Spring Masters New York, USA 2017 Keisho-ha IV: A New Materialism, Yufuku Gallery, Tokyo, Japan TEFAF New York Spring, USA rewind – osamu yokoyama – Debut Exhibition, Yufuku Gallery, Tokyo, Japan Art Miami, USA (’18) 2018 TEFAF Maastricht, !e Netherlands (’19, ’20, ’21) Seattle Art Fair, USA (’19) Yufuku Gallery NYC Pop-Up, USA 2019 silhouettes of you – osamu yokoyama – Solo Exhibition, Yufuku Gallery, Tokyo, Japan Silhouettes of Tomorrow, Yufuku Gallery, London, UK West Bund Art and Design, Shanghai, China (’20) 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan 2021 Art Fair Tokyo, Japan

Public Collections !e Klor"ne Foundation, USA

森山寛二郎 KANIRO MORIYAMA

Kai (urn)

2020 Stoneware with glaze H78 × W56 × D36 cm H31 × W22 × D14 in “I search for beauty in abstraction using materials and techniues oen commonly associated with the utilitarian.” KANJIRO MORIYAMA About the Artist About the Work !e 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 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, 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 his hometown, yet with a penchant for the avant-garde. !ere is a purity to his lines and form by hand-building, and his loops, lines and curves can only be realised by the wheel. 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-#red, and then an initial main his work, the youthful Moriyama is a juxtaposition of many elements; at once starry-eyed #ring takes place at a temperature of 1250 degrees Celsius within a gas kiln. It is only at the and innocent, yet possessing an aesthetic wisdom beyond his years; extraordinarily humble, next and #nal main #ring wherein the individual parts are attached with glaze and #red/ yet brimming with sculptural con#dence. fused together – an intricate, complex and extremely di$cult process. Luscious silhouettes combined with razor edges, drenched in glazes both white, black and metallic glazes, 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. a new generation of emerging A Lighthouse called Kanata artists who push the boundaries of their materials and techniques to new heights, this prominence being recognized by acquisitions by 7 public collections while still in his mid-30’s. In particular, Moriyama is a pioneer in taking the humble potter’s wheel, a tool predominantly used for the mass production of vessel forms, and turning it into a viable means for abstraction, essentially 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 2007 Saga University / Lives and works in Koishiwara

Selected Awards 2007 Grand Prize, Asahi Ceramics Exhibition 2013 Mayor’s Prize, !e 110th Kyushu / Yamaguchi Ceramic Art Exhibition Encouragement Award, Kobe Biennale Contemporary Ceramics Exhibition Selected, 58th Faenza International Ceramic Exhibition, Faenza, Italy Selected, 5th Kikuchi Biennale Ceramic Exhibition 2014 Award of Excellence, Ceramic Art of Today, 3rd Hagi Grand Prize Exhibition 14th Kakiemon Memorial Award, !e 2nd TOBI Ceramic Art Exhibition 2016 Grand Prize, !e 4th TOBI Ceramic Art Exhibition Minister’s Prize, Arita International Ceramics Competition 2017 Nominated, !e 24th Japan Ceramics Exhibition Selected, !e 11th Mino International Ceramics Competition Selected, !e 7th Kikuchi Ceramics Biennale 2019 Iwakuni Art Museum Prize, Ceramic Art of Today, 5th Hagi Grand Prize Exhibition Award of Excellence, !e 8th Kikuchi Ceramics Biennale

Selected Exhibitions 2002 !e 85th Saga Art Exhibition, Saga Prefectural Art Museum, Japan (’03, ’04, ’06) 2003 !e 33rd Nagasaki Ceramic Art Exhibition, Nagasaki Prefectural Art Museum, Japan !e 53rd Saga Prefectural Exhibition, Saga Prefectural Art Museum, Japan (’04, ’07) 2004 !e 20th Contemporary Arts and Crafts Exhibition of Kyushu, !e Kyushu Ceramic Museum, Japan !e 25th Chikugo Art Exhibition, Sathankusu Chikugo, Japan 2005 !e 102nd Kyushu Yamaguchi Ceramic Art Exhibition, !e Kyushu Ceramic Museum, Japan (’07, ’12, ’13) 2006 Group Exhibition, !e Saga City Cultural Museum, Japan 2007 !e 28th Choza Prize Contemporary Ceramic Art Exhibition, Aichi Prefectural Ceramic Museum, Japan (’13) 45th Commemorative Asahi Ceramic Art Exhibition, !e Shigaraki Ceramic Cultural Park, Japan 2008 64th Fukuoka Prefectural Art Exhibition, Fukuoka Prefectural Museum of Art, Japan (’09, ’10, ’11, ’12) 2017 TEFAF Maastricht, !e Netherlands (’18, ’19, ’20, ’21) Mashiko Ceramic Art Exhibition, Mashiko Museum of Ceramic Art, Japan TEFAF New York Spring, USA 2009 Young Artists Group Exhibition, House of Ryoichi Yamaguchi, Japan 2018 Seattle Art Fair, USA 2010 KUMAMOTO FINAL Biennale, Contemporary Art Museum Kumamoto, Japan %y me to the moon – kanjiro moriyama, Yufuku Gallery, Tokyo, Japan Contemporary Ceramics Hagi Grand Prize Exhibition III, Hagi Uragami Museum, Japan 2019 Kanjiro Moriyama Solo Exhibition, Atelier HIRO, Osaka, Japan 2011 9th International Ceramics Festival, Mino, Japan Kanjiro Moriyama Solo Exhibition, Takashimaya Department Store, Tokyo, Japan Kobe Biennale Contemporary Ceramics Exhibition, !e Museum of Ceramic Art / BB Plaza Museum of Art, Japan Kanjiro Moriyama Solo Exhibition, Iwataya Mitsukoshi Department Store, Fukuoka, Japan 2012 Lines and Curves Exhibition, Fukuoka, Japan Special Exhibition “Emerging from the clay – Saga University’s Pottery” Saga University Art Museum, Japan 2013 58th Faenza International Ceramic Exhibition, Faenza, Italy (’15) West Bund Art and Design, Shanghai, China (’20) 5th Kikuchi Biennale Ceramic Exhibition, Tokyo, Japan 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan 22nd Japan Ceramic Art Exhibition, Ibaraki Ceramic Art Museum, Japan end of the world supernova II – kanjiro moriyama, A Lighthouse called Kanata, Tokyo, Japan 2014 Tobi Ceramic Art Exhibition, Tokyo, Japan 2021 Art Fair Tokyo, Japan Collect, London, UK (’15) !e Beauty of Materials, Galerie Marianne Heller, Germany loops. lines. curves – kanjiro moriyama Solo exhibition, Yufuku Gallery, Tokyo, Japan Public Collections 2015 Art Stage Singapore, Singapore (’16, ’17) Victoria & Albert Museum, UK / Asian Art Museum, USA / Faenza International Ceramics Museum, Italy / Museum Japan!, Mouvements Modernes, Paris, France of Fine Arts, Houston, USA / !e Ann and Gabriel Barbier-Muller Museum, Dallas, USA / !e Kyushu Ceramic Art Miami, USA (’16, ’17, ’18) 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 / Ra"es Shenzhen, China

加藤貢介 KOSUKE KA TO

“e organic ow of life and its innite possibilities can be found within the suraces of my amascus steel.” 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 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 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 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 di!erent sheets of iron ore 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 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 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 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 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 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 glory. from within the metal and appear on Kato’s facades. Lastly, the treated metal is hammer- raised into Kato’s distinctively serene and minimal silhouettes. TEFAF Maastricht will 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 the Philadelphia Museum of Art, and with a solo exhibition already slated for the Samurai movement of vertical ebb and "ow through the use of an attached metal pedestal. Clearly 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 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.

1988 Born in Kanagawa Prefecture, Japan 2010 Tamagawa University 2013 Hiroshima City University, MFA Lives and works in Kanagawa

2010 Dean’s Award, Tamagawa University 2012 Hiroshima Mayor Award, Hiroshima KAZARU Exhibition Genbei Yamanaka Award, Imakara Mamesara Exhibition 2013 Yuji Akimoto Award, Art Craft of the Next Generation Exhibition 2015 Prix Villa Kujoyama, Institut français du Japon Kansaï Award, Imakara Mamesara Exhibition 2016 Institut Français du Japon Prize, Imakara Mamesara Exhibition 2019 Award of Excellence, 35th Tansuio Award, #e Satoh Art Craft Research & Scholarship Foundation

2009 Japan Traditional Metal Art Exhibition, Nihonbashi Mitsukoshi, Tokyo, Japan (’10, ’11) 2012 Hiroshima KAZARU Exhibition, Hiroshima, Japan 2013 Takaoka City Art Craft Exhibition, Toyama, Japan Art Craft of the Next Generation Exhibition, Kyoto Municipal Museum of Art, Japan (’14) 2014 Essence and Quality Kosuke Kato × Kei Ogawa Duet Exhibition, Gallery Hinoki plus, Japan 50th Kanagawa Prefectural Art Exhibition, Japan Tea Ceremony of Light, SHUHALLY, Kanagawa, Japan Metal Art Exhibition of Hiroshima City University, Akitaka Municipal Yachiyonooka Museum of Art, Japan 2015 Nuit Blanche Kyoto, Japan Solo exhibition, Powerful Expressions, Seikado Gallery, Kyoto, Japan 2016 Group exhibition, Keisho-Ha III: A New Materialism, Yufuku Gallery, Tokyo, Japan kougei project vol.2, Ai Kowada Gallery, Tokyo, Japan view – Kosuke Kato Solo exhibition, Yufuku Gallery, Tokyo, Japan 2017 Art Stage Singapore, Singapore TEFAF Maastricht, #e Netherlands (’18, ’19, ’20, ’21) Evolution of Metal Works, Wako, Tokyo, Japan 2018 Palm Beach M + C, USA Seattle Art Fair, USA (’19) Art Miami, USA (’19) 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 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan EQUILIBRIUM, Bermel von Luxemberg Gallery, Berlin, Germany 2021 Art Fair Tokyo, Japan

Philadelphia Museum of Art

MASANORI MAEDA 前田正憲

両忘 both forgotten

20 Japanese pigments on aluminum leaf, mounted on canvas cm “ie Tohau, to paint or not to paint what can or cannot be seen.” MASANORI MAEDA About the Artist About the Work $e use of black ink to express the seasons and the passing of time is one of traditional Maeda’s painting entitled “both forgotten / light” is inspired by the abstract pine Japanese painting’s major characteristics, and in comparison to acrylic or oil-based trees of the legendary medieval Japanese painter Hasegawa Tohaku, his brushstrokes painting materials, it is often said that traditional Japanese pigments and inks are not only revealing hints of tension that leave behind a sparse emptiness that fills an ominous, complex, but are notoriously di%cult to use e!ectively for abstraction. It is this complexity looming presence of what lies beyond. To paint or not to paint what can and cannot which gives the genre called Nihonga its captivating allure, and an emerging school of be seen – it is this duality of Tohaku that Japanese painter Masanori Maeda contemporary Japanese painters are bringing this centuries-old tradition, previously endeavours to capture, while also being inspired by the simple forms and strokes of leaning heavily on "gurative 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 abstractions. juxtaposition between life and death, pain and happiness, and other elements that, once forgotten, can lead one to another state of existence that transcends the 2-dimensional, 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 di!erent between this di%cult 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 digits and glittering alumni that essentially comprises the modern art history of Japan "gurative within Maeda’s work, in particular an emphasis on natural landscapes and the 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 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 artists on a well-oiled path to stardom. $is was not the case for Maeda. With exceptional sun peering from the horizon representing a new day, a new hope, and a moment to technique yet without a clear conception of what he wished to express through painting, re#ect away from the troubles of the past. Maeda’s romantic idealism has been realised in 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 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.

1964 Born in Miyazaki Prefecture, Japan 1991 Tokyo University of the Arts, / Lives and works in Ibaraki

Selected Awards 1990 Ataka Prize, Tokyo University of the Arts 1991 Second Prize, Chicago International Art Competition, USA $ird Prize, Firan Award

Selected Exhibitions 1993 Lespoir Solo Exhibition, Surugadai Gallery, Tokyo, Japan Solo Exhibition, Nozaki Museum, Tokyo, Japan 2007 Toride Art Project, Ibaraki, Japan (’08) 2009 Unseen, Wada Gallery, Tokyo, Japan 2011 After Life, Wada Gallery, Tokyo, Japan 2013 $e Other Side: Souldust, Wada Gallery, Tokyo, Japan 2014 Gardenscape, Wada Gallery, Tokyo, Japan 2015 TAKAMAGAHARA, Shibata Etsuko Art Gallery, Tokyo, Japan Elegant Simplicity, Amu Gallery, Tokyo, Japan (’16) 2016 Waters of March, Shibata Etsuko Art Gallery, Tokyo, Japan Solo Exhibition at SEIBU, Ibaraki, Japan 2018 Both Forgotten, Shibata Etsuko Art Gallery, Tokyo, Japan Both Forgotten #2, Jun Gallery, Tokyo, Japan Art Miami, USA (’19) 2019 TEFAF Maastricht, $e Netherlands (’20, ’21) Seattle Art Fair, USA Nihonga Now, Masterpiece London, London, UK West Bund Art and Design, Shanghai, China (’20) 2020 Opening Ceremony, A Lighthouse called Kanata, Tokyo, Japan 2021 Art Fair Tokyo, Japan

Public Collections Ryumon Temple Collection Tokyo, Japan Tokyo University of the Arts, Japan HIDENORI TSUMORI 津守秀憲

Remnants Of

2021 Glass mixed with stoneware H56 × W37 × D37 cm HIDENORI TSUMORI “To epress the passing of time through the fossilisation of glass, to transform the inorganic into the organic...” About the Artist About the Work To capture the rivers of time #owing into oceans vast, the ephemeral fragments of memories Using an ingeniously original technique of "ring glass together with clay, Tsumori creates 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 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 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 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 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 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 solemn sculptures represent the remnants of what has passed and what (or perhaps who?) is kiln using "re-resistant blocks. After "ring, the artist pulls the object from the kiln and left behind in stark, poignant detail. removes the plaster, thereby leaving behind the remains of glass and clay in all its elegiac splendour. Firing two opposing materials together into a single entity is a revolutionary and 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 life end and death begin? Who or what draws the divide between these two fundamentally beauty unachievable by any other means. di$erent states of nature? A juxtaposition of seemingly antagonistic realms often reveal that things are usually two sides of the same coin. And what lies beyond Tsumori’s tundra-esque landscapes? With a rising recognition within both realms of glass and ceramics, evidenced by his fast-growing number of public collections and awards, Tsumori’s glass sculptures acting as receptacles that catch both the life energies of Eros and that of Thanatos, the 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

Selected Awards 2011 Selected, 47th Kanagawa Prefecture Art Exhibition 2013 Selected, Echuu Art Festa Award of Excellence, Northern Japan Newspaper Prize 2014 Award of Excellence, Toyama City Institute of Glass Art Graduation Exhibition Selected, 29th Ishikawa of Contemporary Art Craft Exhibition 2015 Hokkoku Newspaper President's Prize, 71st Kanazawa Art Craft Exhibition Miwa Jury Prize, 6th Sanyo Onoda Contemporary Glass Art Exhibition Selected, Meyer × Shigaraki Award Japan Ceramics Now – Tradition and Innovation Exhibition TV Kanazawa President's Prize, 30th Ishikawa Contemporary Art Craft Exhibition Selected, Japan Glass Art Exhibition Selected, Takaoka City Art Craft Competition 2016 Silver Prize, !e International Exhibition of Glass Kanazawa Selected, Kanazawa Utatsuyama Craft Workshop 2017 Prize: Special Recognition Award by Ronald T. Labaco, 3rd Triennale of Kogei in Kanazawa Mayor’s Prize, 73rd Kanazawa Craft Council Selected, International Ceramics Festival Mino 2018 Silver Prize, Toyama International Glass Exhibition 2018 Kuroki Prize, Glass ’18 in Japan 2019 Grand Prize, International Exhibition of Glass Kanazawa 2019

Selected Exhibitions 2012 Art in Life Exhibition, Mitsukoshi Department Store, Tokyo, Japan 2013 Glass × Glass × Glass, Takamura Gyujin Memorial Museum of Art, Toyama, Japan Glass Story, Milestone Art Works, Toyama, Japan Science Room, Kanka Gallery, Toyama, Japan 2014 7th Glass Educational Institutions Joint Exhibition (GEN Exhibition), Tokyo Metropolitan Art Museum, Japan 29th Contemporary Craft Art Exhibition, 21st Century Museum of Contemporary Art Kanazawa, Ishikawa, Japan 2018 Seattle Art Fair, USA (’19) Solo exhibition, Gallery Q, Tokyo, Japan Toyama International Glass Exhibition, Japan 2015 SOFA Chicago, USA Glass Artists from Hokuriku Diversifying Glass Art, Toyama Glass Art Museum, Toyama, Japan Space-Time Exhibition, Art For !ought, Tokyo, Japan Yufuku Pop-Up in NYC, New York, USA 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 !e Form of Vestiges – Solo Exhibition, Ishikawa, Japan 2021 Falling into You – Solo Exhibition, A Lighthouse called Kanata, Tokyo, Japan 2016 Art Stage Singapore, Singapore (’17) Spring Masters New York, USA EAF Monaco, Monaco Public Collections Art Taipei, Taiwan Toyama Institute of Glass Art, Japan / Museum of World War II, USA / Notojima Glass Art Museum, Japan / Art Miami, USA (’17, ’18, ’19) Kanazawa Utatsuyama Craft Workshop, Japan / !e Horvitz Collection, USA Remains of the Day – Solo Exhibition, Yufuku Gallery, Tokyo, Japan

2017 TEFAF Maastricht, !e 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 SACHI FUJIKAKE 藤掛幸智

Vestige

2021 Blown, sandblasted sheet glass H33 × W24 × D24 cm H12.9 x W9.4 x D9.4 in

26 27 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 Beauty of Materials – roupG 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 Transfiguration of Glass II, Gallery VOICE, Gifu, Japan EAF Monaco, Monaco The International Exhibition of lassG 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 79