Catalog: Artists: Ceramics: Pottery (587)

A raw black-clay sculpture rising vigorously to the occasion by Yamaguchi Mio titled Carpe Diem dating to later in 2023. It is 31 x 33.5 x 58.5 cm (12 x 13 x 23 inches) and is in excellent condition, directly from the artist. It comes with a signed wooden placard.
Due to size and weight this will require special shipping consideration.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at university, her works were selected for show at the JoryuTogei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11th International Ceramics Competition in Mino. She took a job as a teacher, but could not fight the need to create, so enrolled in the Tajimi City Ceramics research facility, graduating in2020. Her work is currently on view in the Chicago Institute of Arts, and was featured on the cover of the catalog for that exhibition, Radical Clay.
According to Mio: I feel that my fascination towards the natural world’s use of repetition, in bee hives and on the surface of corals, appears in my work as I consume and absorb the world around me. I like to believe that these works are natural forms made by my own hands. When I mold clay, I have a sensation that my body and consciousness blends and binds with the material and the natural world. The process of building upon each coil and applying each fold one by one with my hands is a form of meditation. Through this repetitive process I want to be able to convey my thoughts at the time in the texture, such as my struggle of swaying between the desires to live freely and falling under the pressure from societal expectations. It calms me down to observe the fingerprints left in the surface and see the traces of my existence in the clay. These works are products of what I have absorbed around me.

A wild pottery sculpture by Yamaguchi Mio titled Manimani (every moment), the sandy terracotta colored clay completely unadorned, rising from three feet like some exotic earthen flower. It is 40 x 50 x 59.5 cm and is in excellent condition, directly from the artist dating from 2023. It comes with a signed wooden placard.
Due to size, the cost of shipping will be accrued separately.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at university, her works were selected for show at the JoryuTogei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11th International Ceramics Competition in Mino. She took a job as a teacher, but could not fight the need to create, so enrolled in the Tajimi City Ceramics research facility, graduating in2020. Her work is currently on view in the Chicago Institute of Arts, and was featured on the cover of the catalog for that exhibition, Radical Clay.
According to Mio: I feel that my fascination towards the natural world’s use of repetition, in bee hives and on the surface of corals, appears in my work as I consume and absorb the world around me. I like to believe that these works are natural forms made by my own hands. When I mold clay, I have a sensation that my body and consciousness blends and binds with the material and the natural world. The process of building upon each coil and applying each fold one by one with my hands is a form of meditation. Through this repetitive process I want to be able to convey my thoughts at the time in the texture, such as my struggle of swaying between the desires to live freely and falling under the pressure from societal expectations. It calms me down to observe the fingerprints left in the surface and see the traces of my existence in the clay. These works are products of what I have absorbed around me.

A beautiful small wall hanging sculpture by Yamaguchi Mio, titled Kawa (Skin or bark) in rare lavender tinged glaze. It is 19 x 32 x 5.5 cm (8 x 12-1/2 x 2 inches) and is in excellent condition, directly from the artist.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at university, her works were selected for show at the JoryuTogei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11International Ceramics Competition in Mino. She took a job as a teacher, but could not fight the need to create, so enrolled in the Tajimi City Ceramics research facility, graduating in2020. Her work is currently on view in the Chicago Institute of Arts, and was featured on the cover of the catalog for that exhibition, Radical Clay.
According to Mio: I feel that my fascination towards the natural world’s use of repetition, in bee hives and on the surface of corals, appears in my work as I consume and absorb the world around me. I like to believe that these works are natural forms made by my own hands. When I mold clay, I have a sensation that my body and consciousness blends and binds with the material and the natural world. The process of building upon each coil and applying each fold one by one with my hands is a form of meditation. Through this repetitive process I want to be able to convey my thoughts at the time in the texture, such as my struggle of swaying between the desires to live freely and falling under the pressure from societal expectations. It calms me down to observe the fingerprints left in the surface and see the traces of my existence in the clay. These works are products of what I have absorbed around me.

A beautiful small wall hanging sculpture by Yamaguchi Mio, titled Umi no Futa (Oceanic Lid) with blue tinged petals enclosed in the original signed wooden box. It is 13.5 x 17 x 5.5 cm and is in excellent condition, directly from the artist.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at university, her works were selected for show at the JoryuTogei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11International Ceramics Competition in Mino. She took a job as a teacher, but could not fight the need to create, so enrolled in the Tajimi City Ceramics research facility, graduating in2020. Her work is currently on view in the Chicago Institute of Arts, and was featured on the cover of the catalog for that exhibition, Radical Clay.
According to Mio: I feel that my fascination towards the natural world’s use of repetition, in bee hives and on the surface of corals, appears in my work as I consume and absorb the world around me. I like to believe that these works are natural forms made by my own hands. When I mold clay, I have a sensation that my body and consciousness blends and binds with the material and the natural world. The process of building upon each coil and applying each fold one by one with my hands is a form of meditation. Through this repetitive process I want to be able to convey my thoughts at the time in the texture, such as my struggle of swaying between the desires to live freely and falling under the pressure from societal expectations. It calms me down to observe the fingerprints left in the surface and see the traces of my existence in the clay. These works are products of what I have absorbed around me.

A large Kokuto scalloping sculpture on three adjoined pedestal feet by Yamaguchi Mio titled Taiji no Yume (Fetal Dream)dating from late 2023. Here the young artist has ventured into black clay, eschewing altogether glaze of any kind. What you have is simply the direct, dark clay and the earthen texture, with no frills or decoration. It is 40 x 43 x 60 cm (16 x 17 x 24 inches) and is in excellent condition, directly from the artist. It comes with a signed wooden placard.
Due to size and weight this will require special shipping consideration.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at university, her works were selected for show at the JoryuTogei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11th International Ceramics Competition in Mino. She took a job as a teacher, but could not fight the need to create, so enrolled in the Tajimi City Ceramics research facility, graduating in2020. Her work is currently on view in the Chicago Institute of Arts, and was featured on the cover of the catalog for that exhibition, Radical Clay.
According to Mio: I feel that my fascination towards the natural world’s use of repetition, in bee hives and on the surface of corals, appears in my work as I consume and absorb the world around me. I like to believe that these works are natural forms made by my own hands. When I mold clay, I have a sensation that my body and consciousness blends and binds with the material and the natural world. The process of building upon each coil and applying each fold one by one with my hands is a form of meditation. Through this repetitive process I want to be able to convey my thoughts at the time in the texture, such as my struggle of swaying between the desires to live freely and falling under the pressure from societal expectations. It calms me down to observe the fingerprints left in the surface and see the traces of my existence in the clay. These works are products of what I have absorbed around me.

This amazing piece, fresh from the kiln in April, is titled Mio, perhaps a play on the artists name, this kanji character meaning water which has pooled and collected. When looking at this piece, all the glaze has run down the body, filling the scalloping exfoliation with pools of lapiz blue. It is 27 x 30 x 58 cm (11 x 12 x 23 inches) and is in excellent condition.
Due to size this will require special shipping consideration.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at university, her works were selected for show at the JoryuTogei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11th International Ceramics Competition in Mino. She took a job as a teacher, but could not fight the need to create, so enrolled in the Tajimi City Ceramics research facility, graduating in2020. Her work is currently on view in the Chicago Institute of Arts, and was featured on the cover of the catalog for that exhibition, Radical Clay.
According to Mio: I feel that my fascination towards the natural world’s use of repetition, in bee hives and on the surface of corals, appears in my work as I consume and absorb the world around me. I like to believe that these works are natural forms made by my own hands. When I mold clay, I have a sensation that my body and consciousness blends and binds with the material and the natural world. The process of building upon each coil and applying each fold one by one with my hands is a form of meditation. Through this repetitive process I want to be able to convey my thoughts at the time in the texture, such as my struggle of swaying between the desires to live freely and falling under the pressure from societal expectations. It calms me down to observe the fingerprints left in the surface and see the traces of my existence in the clay. These works are products of what I have absorbed around me.

A prototypical Momoyama style Iga vase by Atarashi Kanji enclosed in the original signed wooden box titled Iga Mimitsuki Hanaire. It is 24 cm tall (just under 10 inches) and in excellent condition.
Atarashi Kanji was born in Osaka in 1944, and graduated the Osaka College of Craft design. After 3 years in Kobe, and 4 in Kishiwada (Wakayama) he came to settle in Iga, where he was one of the driving forces behind the resurrection and preservation of the Iga tradition. Although displayed at the National Craft Fair, he prefers the intimacy of the private exhibition, of which he holds several every year. And if ones visit to japan is not timed right for an exhibition, he can otherwise be found at his kiln working along with his son and daughter.

Decorated with only a single platinum thumbprint this Unmistakable Crimson bowl by Masatomo turns inward as it closes upon the mouth. It is 15 cm (6 inches) diameter, 8 cm (just more than 3 inches) tall and in perfect condition, enclosed in the original signed wooden box titled Red Chawan and comes directly from the artist.
Masatomo Toi was born in Aichi Prefecture in 1992, and graduated the Design course at the Tajimi Ceramics Research Facility in 2019. Since he has been developing his series of “Thorny” vessels and objects. At the same time he has been studying the way of tea and other traditional arts such as flower arrangement, and his use of negative space is masterful. His works have been featured in a number of group and juried exhibitions. He is currently midway through a year of study and experimentation abroad, and we expect great things in his future.

A Silent Shadows series sculpture by Sugitani Keizo enclosed in the original signed wooden box with engraved date beneath 220202. It is 16 x 13 x 25 cm (6 x 5 x 10 inches) and in excellent condition, directly from the artist this summer. Although imbued with the rustic sheen of metal, Sugitani’s works are in fact creations in Shigaraki clay that are hand-built into interlocking forms that are almost Escher-esque in their simple complexity. After blending a base white clay, the artist begins the rigorous process of hand-coiling his sculptures into the forms in his mind’s eye. After carving and smoothening the surfaces, the artist bisque-fires the work. Sugitani applies an original glaze that is rich in copper, and after a main firing in his gas-kiln, imbues his works with the distinctive patina of rusted metal. (Ceramics Now Magazine). Sugitani Keizo was born in Osaka in 1959. In 1982 he graduated the Ceramic Art Institute of the Tekisui Museum of Art. He has selected for a number of group exhibitions including the International Ceramics Competition Mino and the Asahi Art exhibition, where he has been awarded. He has been exhibited at some of Japns top galleries as well as London, Art Miami, Maastricht, New York, Taipei and Shanghai among others.

An elegant sake set in silver and celadon green over raw clay consisting of a set of guinomi and Tokkuri, perfect or sharing sake, by Masafumi Doi enclosed in the original signed wooden box titled Tessaiji Senmon Shuki (Metal Glazed Porcelain Sake Vessels with lines). The cups are 5.5 cm diameter (2-1/4 inches), the same height. The Tokkuri is 11.5 cm (4-1/2 inches) tall and all are in excellent condition. We picked these up earlier this year when we visited him in Nara, but are just bringing them out now as we open the new gallery space.
Doi Masafumi was born in Nara prefecture in 1972, and graduated the Aichi prefectural ceramic research facility in 2000. For the next seven years he would work at a kiln in Kyoto, absorbing the many styles and techniques associated with Kyo-yaki before establishing his won kiln back in Nara. He held is first solo exhibition in Kyoto in 2009, and in 2011 was awarded at the Nihon Togeiten National Ceramics Exhibition, where he has been featured many times.

A solid brick of Shigaraki clay sculpted and torn covered in natural ash glaze by Fujimoto Hide enclosed in the original signed wooden box titled Katamari (Mass). It is 24 x 16.5 x 17.5 cm (9-1/2 x 6-1/2 x 6-3/4 inches) and is in excellent condition, directly from the artist.
Fujimoto is inspired by the natural world around him, and the return to nature of the discarded and redundant remains of our civilization. He told me this piece was influenced by pier blocks he had seen covered in moss half buried in the earth.
Fujimoto Hide was born in the heart of Shigaraki in 1954, and was fascinated with the medium from a very young age. He worked in several potteries and industrial positions for a decade from 1973, always furthering his understanding of firing technique and glazes, followed by a decade of firing and sculpting, culminating in establishing his own kiln in the forests of Shigaraki in 1995. His work has been picked up by many of Japan’s preeminent galleries including several private exhibitions with Kuroda Toen in Ginza, the Togei no Mori Museum in Shiga, and just recently an exhibition in Taiwan.

A Beautiful bowl in crackled white set into a lattice like structure of raw porcelain pierced with a plethora of various sized holes by Kato Yoshiyasu enclosed in the original signed wooden box titled Haku-yu no wan (White Glazed Bowl). It is 12.5 cm (5 inches) diameter, 10 cm (4 inches) tall and in excellent condition, from the artist this year.
Kato Yoshiyasu was born in Aichi prefecture in 1985, and graduated the Kurashiki Kogei Crafts School design department in 2008. He then went on to study at the Tajimi Ceramics Research Facility, finishing there in 2014. He moved to Nshio city in 2018, where he set up a studio and works today while raising a cute little baby with his wife.

A sake serving vessel by Yamada Kazu enclosed in the original signed wooden box titled Kaku-yu Oribe Shuchu. It is 18.5 cm tall and in excellent condition.
Yamada Kazu was born in Tokoname city in 1954, one of Japans ancient kiln areas, into a line of potters. He would have been influenced early on by his father, Yamada Kenkichi and uncle living National Treasure Yamada Jozan. He graduated the Osaka Art University before moving to Echizen to establish his first kiln. He was propelled to international fame after building an Anagama kiln in Germany in 1988. He has been displayed domestically at the Asahi Togeiten, Nihon Togeiten and Chunichi Kokusai Togeiten as well as a host of private exhibitions in prominent galleries and department.

Black Bizen Guinimo and Tokkuri by Oiwa Tomoyuki enclosed respectively in their original signed wooden boxes. There is a wonderful dialog between the two pieces, the bottle blackened with dark dry ash buffeting the surface, while over the same darkness has been blasted molten ash on the cup, flowing around and beading on one side. The juxtaposition between the liquidity and dryness of the two, same colored, ash effects is delightful. The sake cup is 7 cm (2-3/4 inches) diameter, 5.5 cm tall, the Tokkuri 14 cm (5-1/2 inches) tall and both are in excellent condition. We picked these up during our summer trip to Bizen in June.
Oiwa Tomoyuki was born in Hyogo prefecture in 1977, and graduated the Bizen Ceramic Center in 2004. The following year he came to study under the outsider Kakurezaki Ryuichi, where he would remain for 8 years, garnering a lifetime worth of knowledge from the master before going independent. In 2014 he built a half-submerged tunnel kiln (anagama), completing his first firing in 2015. He has since been featured widely and is known for sell out shows, especially for his sake vessels.

Dashes of black like traces of some Zen ink painting decorate the surface of this set of five pates by Kondo Yutaka enclosed in the original signed wooden box titled Sumi-nagashi Chu-zara. Each is 23.5 cm (9-1/4 inches) diameter, and all are in excellent condition, dating circa 1978.
Kondo Yutaka (1932-1983) was born into a traditional pottery family in Kyoto. He studied under Living National Treasures Kondo Yuzo and Tomimoto Kenkichi at the Kyoto Municipal University of Art, graduating in 1957. That same year his work was accepted into the New Masters of Crafts Exhibition (Shin-takumi Kogeikai Ten). From 1962-63 he traveled in the US and lectured at Indiana University with Karl Martz. Returning to Japan he was granted a position at his Alma Matter, where he would continue to teach for the rest of his life, while making frequent research trips abroad to South and Central Asia, where he would master the T’zu Chou techniques. He twice received the Mayors prize at the Kyoten Exhibition, was awarded at the Asahi Togeiten, and is recipient of the coveted JCS award in 1967. The following year would see his work displayed at the New Generation of Ceramics Exhibition held at the Kyoto National Museum of Modern Art. In 1985 a posthumous exhibition was held honoring his life's work at the Kyoto Municipal Museum of Art. Work by the artist is held in the Metropolitan Museum of Art, NY, Musée Tomo, Tokyo, Minneapolis Institute of Art and the Victoria & Albert Museum, London among others. For more on this important artist see the book Kondo Yutaka: The Transformation of a Traditional Kyoto Family (2010).

An elegant set of 5 oil spot glazed tea bowls with crackled white interiors by Living National Treasure Shimizu Uichi enclosed in the original signed wooden box titled Yuteki Yu Kumidashi Wan. Each is 6.5 cm (2-1/2 inches) diameter, roughly the same height, and all are in perfect condition.
Shimizu Uichi (1926-2004) was born in Kyoto the son of a ceramic dealer. Discarding the family business, he apprenticed in plastic arts under future Living National Treasure Ishiguro Munemaro. His work retains some principal elements of his teachers style while incorporating an understated elegance and avant-garde spirit of challenge uncommon for his time. He was first exhibited at the Nitten in 1951, receiving numerous awards there since. He also took the gold medal at the Prague International Exhibition, and was at the Brussels World Exposition. He is in the collection of the Tokyo National Museum, Kyoto Museum of Modern art, Clark Center and the Freer Gallery among many others.

A stellar Black water jar by Yamaguchi Shozaemon XIII enclosed in the original signed wooden box titled Kamakura Nioi Mizusashi. Scraped cut and beat out of form with looping ribbons of clay for handles creating a bold, lively experience. Here is a Mizusashi which certainly does not let down. It is 21 cm (just over 8 inches) diameter at the base, 16.5 cm (6-1/2 inches) tall and in excellent condition.
Yamaguchi Shozaemon was born in 1913 in Seto city, the heartland of one of the oldest pottery traditions in Japan, the 13th generation potter in his family line. Concentrating on the preservation of the traditional techniques of the Seto kiln as well as the development of modern ceramic art, works by him are preserved in the collection of the Imperial Household and Nagoya Castle.

Wow! Here is a radical piece from deep in the embers of Sugimoto Sadamitsu enclosed in the original signed wooden box titled simply Iga Hanaire. It is utterly simplistic in form with dramatic and complex kiln effect born from placement and the inferno. The vase is 26.5 cm (10-1/2 inches) tall, 12.5 cm (5 inches) diameter and in excellent condition.
Sugimoto Sadamitsu was born in Tokyo in 1935. A strong adherent to the Zen tradition, Sadamitsu established his own kiln at 33, receiving the kiln name from his mentor Daitokuji priest Tachibana Oki. His Zen studies have refined the spiritual side of his work, and all of his wood fired ceramics have a quiet and confident power. He has spent his life in the research of kohiki, Shigaraki Iga and Raku wares, and is more than well known in tea circles for the discriminating soul of his works. For more information on this artist see the book Fired with passion : contemporary Japanese ceramics ISBN 1-891640-38-0.