Thank you “KATEIGAHO INTERNATIONAL Japan Edition” for featuring us in TOKYO Timeless Temptations issue!

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We are honored to be featured in “KATEIGAHO INTERNATIONAI Japan Edition” magazine.

Ippodo Gallery Ginza was introduced as one of the sources of “Fantastic Art Found Only in Tokyo”. We are featured on page 13 along with Tokyo’s top galleries.
Please take a look and read a brief summary about our gallery.

The definitive source for insight into Japan’s arts and culture. Here is your key to discovering not only Japan’s traditions and arts, but also practical lifestyle ideas, how to travel Japan like an insider, today’s icons and trends…and more.

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Between Forms : The Terracotta Cosmos by Mokichi Otsuka September 06, 2018 – September 28, 2018

Opening Reception with artist : September 6, 6-8 p.m.

Mon. – Fri. : 11 6 p.m.
Saturdays by appointment.


Ippodo Gallery is pleased to present terracotta works by Mokichi Otsuka (b. 1956), displayed from September 6 to 28, 2018.

Explorations of form take shape with two recurrent motifs—predominately women and cats. Female heads, busts and hands bear reference to the Greco-Roman tradition of seeking an idealized womanly figure in a three-dimensional world, and the terracotta medium to the history of pottery and its life-bearing properties. Under the tutelage of Italian sculptor Aldo Rontini in Faenza, Italy, Otsuka was encouraged to harness the power of ancient traditions through ceramic tiles. Following five years of illness, a chance encounter with the ancient Greek goddess Kore solidified his interest in the seemingly inexpressible vitality of humanity, and eternal fascination with Western heritage.

And yet, Otsuka’s work takes on a contemporary relevance in its homage to Eastern traditions, in that it looks inward. Particularly in the new cat works, sharp, long eyes bear reference at once to the hollowed and unattainable women of Modigliani paintings, Egyptian and Nepalese deities, and even the Noh masks of Japanese theater. Their ability to transcend art historical moments means that their fluidity succeeds in achieving its distance, personifying the value of life in Western antiquity while also encapsulating the unknowable inner life prevalent in Buddhist teachings.

As they bridge the worlds of Greco-Roman and Japanese art, Otsuka’s terracotta wares are unique. Even as the concepts endure, the artist deviates from prehistoric Japanese ceramic aesthetics and their contemporary experimentational counterparts. Pieces are fired at 1060° Celsius (1940° Fahrenheit), in an entirely unique process he continues to innovate. Most recently, he has developed a deeply symbolic and significant perforation technique.

What began as red clay inlaid with white dots has evolved to perforations in white clay. Naturally occurring cracks are left as part of the work to reveal its soul. These holes are a window to the cosmos, undulating in patterns and creating a passage between worlds. They symbolize nature’s energy, encapsulating the inexpressible theories crescendoing in each work of art.

Otsuka has found solace in the expression of mind and body through his works. He pursued extensive education to expand his universe, first in Japanese painting at the graduate school of Tokyo National University of Fine Arts and Music (present- day Tokyo University of Art) in 1981, and later at the Istituto Statale d’Arte per la Ceramica Gaetano, in Faenza, Italy in 1994, where he has continued to exhibit annually since 2006.

As such, Otsuka’s unique fusion of cultural influences has been exhibited namely in the regions where he has drawn inspiration: his home country of Japan, and his beloved Italy. He has held solo exhibitions throughout Japan and Italy, as well as at the 4th Ceramics Biennale in Cairo, Egypt, in 1998. Ippodo is happy to announce that this is the first Mokichi Otsuka show in New York City.

This exhibition also marks a transformation in the ethos of Ippodo Gallery. The message of the gallery has always been in sync with the natural world, but increasing diplomatic engagements are solidifying its place in the canon of cross-culturalism. May this exhibition be a continue culmination of exchange of Japanese culture with the Western world.

For more information and to view an online catalogue, please visit our Exhibition page, or see our official press release.

‘Peace is …Coexistence’ at the United Nations on May 18th was a big success !

The 7th ‘ Peace is …’ Event at the United Nations on May 18th was a big success! The audience enthusiastically shared the spirit of Coexistence and Innovation through our ZEN-An ( the suitcase tea house designed Kuniji Tsubaki ) presentation.
The calligraphy ‘Kyo Sei’ (Coexistence) by Suikei Saito made beautiful harmony with ZEN-An, and our selected tea bowls entertained each ambassador with ITO-EN’s green tea.
Thank you for all the wonderful team work Permanent Mission of Japan to the United Nations, UN Chamber Music Society of the United Nations Staff Recreation Council, ITO EN, TATE Hatoryu NY Japanese Sword Fight Performing Arts, and Mai Fujisawa !
( photos © 2018 Douglas Dubler and © Tokio Kuniyoshi )

© Tokio Kuniyoshi

© Tokio Kuniyoshi

© Tokio Kuniyoshi

© Tokio Kuniyoshi

© Tokio Kuniyoshi

© Tokio Kuniyoshi

© Tokio Kuniyoshi

© Tokio Kuniyoshi

© Tokio Kuniyoshi

© Tokio Kuniyoshi

© Tokio Kuniyoshi


© Tokio Kuniyoshi

© Tokio Kuniyoshi

© Tokio Kuniyoshi

© Tokio Kuniyoshi


© 2018 Douglas Dubler

© 2018 Douglas Dubler

© 2018 Douglas Dubler

© 2018 Douglas Dubler


© Tokio Kuniyoshi

© Tokio Kuniyoshi

© Tokio Kuniyoshi

© Tokio Kuniyoshi


© Tokio Kuniyoshi

© Tokio Kuniyoshi


Ippodo Gallery at the United Nations ‘ Peace is … Coexistence ‘ on May 18th!


Ippodo Gallery is pleased to announce our participation in Peace is … Coexistence: Tea Ceremony for Peace and Innovation at the United Nations in New York.
Please join us on Friday, May 18th at 2pm for this 7th United Nations “Peace is…” event, held in the UN Visitors Centre General Assembly Lobby.

“Peace is…” is an ongoing project to focus Art and Culture as a medium through which we can better connect with the UN and its agenda. While on its own art may not solve the world’s conflicts, it can provide vision and inspiration as we strive for peace.
Overseen by the Permanent Mission of Japan facilitating the showcase of Japanese artists residing in New York for certain time of period, this event supports the STI (Science, Technology, and Innovation) Forum in June, aiming to advance ongoing Sustainable Development Goal agendas and objectives.

The highlight of this May’s presentation will be the showcase of the suitcase tea room, ZEN-An. Produced in partnership with Ito-en and Ippodo Gallery, the ZEN-An will be reconstructed on site by architect Kuniji Tsubaki in Kimono, alongside some of Japan’s finest artisans.
Guests will be guided by tea masters, invited to drink Japanese matcha tea and sample tea from all over the world: a metaphor for cross-culturalism as well as mutual reflection and respect.

The ZEN-An is Ippodo’s latest effort to share Japanese culture and craftsmanship on a global scale. The mobile architectural structure is portable and lightweight, but packed with high-quality and inventive Japanese architecture. This ingenious construction was designed by Tsubaki to be assembled in just 15 minutes–the same amount of time it takes incense to burn. As the ZEN-An  is built, the UN Chamber Music Society of the UN Staff Recreation Council will perform music featuring Mai Fujisawa, who will sing “Reprise” from Spirited Away among others. This tea ceremony was brought to Central Park on November 1st, masterfully celebrated in the serenity of the vivid foliage. Elegant Japanese carpentry techniques were hand-done, impossible to replicate with machinery.

Here is the special video that captured the tea ceremony in Central Park :


Please click to watch a video.

This event marks a culmination of Gallery Director Shoko Aono’s decade of bridging cultures through art. Following the suitcase tea room performance with ZEN-An, she will be speaking on coexistence and its power–not just with Japanese messaging, but across the world.
“We are more alike than we are different,” explains Aono, “In our wants, our pursuits, and our moments of calm, let us enjoy the tea from all over the world. In these expressions, may we find community, and continue to spread coexistence wherever it is needed.”

Ippodo Gallery sends a special thank you to the UN Department of Public Information (DPI), together with DPI NGO Youth Representatives, and Brenda Vongova, Artistic Director of the UN Chamber Music Society. Together, we believe in the power of art to bridge divisions and bring people together.

Please click this invitation from H.E. Ambassador Koro Bessho, Permanent Representative of Japan to the United Nations and the Missions of Mexico, Kenya, Austria, Finland, Bangladesh, Philippines, Canada, Costa Rica, Belgium, Germany, Italy, Poland, Brazil and Indonesia to R.S.V.P. and follow the instructions by Ms. Agnes Mallari.

(Please do not send us R.S.V.P.)

Oceans Formed: Glass Works by Midori Tsukada from May 24th!


Oceans Formed: Glass Works by Midori Tsukada

May 24 – June 21, 2018
Opening reception : May 24th, 6 – 8 p.m.

Mon. – Fri. : 11 6 p.m.
Saturdays : Appointment only by the day before your visit

Ippodo Gallery is pleased to present “ Oceans Formed : Glass works by Midori Tsukada.” 20 will be on view for May 24 – June 21, a must-see presentation of exceptional glass and copper creations.

After years of study in both glass and welded metalwork, Midori Tsukada (b. 1972) has mastered a skillful technique that reveals pale blues and greens through a naturally occuring copper oxidation process, with occasional hints of silver and gold. The colors evolve free-form on cool toned glass, as the hues and beads evoke the gentle mist of an ocean spray, or the dew from rainfall on a forest’s leaf. This effect is delicate and ephemeral on the translucent glass, capturing a fleeting feeling even as the permanence and deceptive durability of the materials endures.

To Tsukada, that glass is a relatively new material in the field of ceramic expression brims with potential for diversity of expression. In this experimentation, the layered metals are highly unique, with an air at once of unpredictability and mystery. During the firing process, the slow heat of the kiln curves the shape of the glass, and Tsukada gathers this shape in the final result of the object, accounting for the natural rhythms and whims of the shifting form.
In the spontaneity, each object tells its own story. Natural Lace (2) suggests the curve of an ocean wave, with swirls of blue-green and flecks of gold underscored by a deep blue. Natural Lace (3) looks like a deep green pond, dipping darker into the base with beads of light green reminiscent of a surrounding forest. The open face of Natural Ground (4) curves like palms of a leaf, or open hands. The works speak; they tell stories. They allow us to question our own existence.

From ancient times, there has been a distinctly Japanese desire to coexist with nature. To capture the earthly sensations of wind and water, of forest and fire, has a profundity that does not translate to other cultures, and is hard to put into words. But the mission of artists like Tsukada is to listening the voice of nature, and attempt to achieve this heightened embodiment through art. In this, she finds her own voice, interacting with the natural world through her creations. It is the artist’s wish that the link between nature and self through glass will resonate with audiences around the world.

About the Artist

Born in Gifu, Tsukada studied metalcraft before entering Toyama City Institute of Glass Art, where she pursued her interest in combining glass and metal, completing her studies in 2002. From there, she worked as a researcher at Kanazawa Utatsuyama Craft Workshop, and as a glass assistant at Akita Public Arts and Crafts Junior College of Arts and Crafts. Beginning in 2006, she was the glass studio coordinator at Kanazawa Utatsuyama Craft Workshop, and opened her own studio in Toyama in 2011, where she continues her artistic practice today. She has received many honors and awards, from the International Exhibition of Glass Kanazawa in 2001, the Contemporary Glass Triennial in Toyama in 2002, the 2007 Silver Prize at the International Exhibition of Glass Kanazawa, the 2013 Gold Prize at the International Exhibition of Glass Kanazawa, and many more. Following numerous exhibitions in Japan and Korea, she began showing with Ippodo Gallery in 2012. Her work has been widely collected around Japan, and most recently entered the collection of the Museum of Contemporary Design and Applied Arts in Lausanne, Switzerland.

For more information and to view an online catalogue, please visit our Exhibition page, or see our official press release.

Tea Bowls: Art of the Five Senses from March 15 !


Tea Bowls: Art of the Five Senses
Contemporary Japanese Tea Ceremony Wares
March 15 – April 7
Opening Reception : March 15, 6 – 8 p.m.

Asia Week Hours:
March 15 – March 24, 11 am – 6 pm
except Sunday, March 18: by appointment;
March 26 – April 7, Mon. – Fri., 11 am – 6 pm

In celebration of Ippodo Gallery NY’s 10th anniversary, the gallery is delighted to announce an exhibition of tea wares by more than 15 contemporary Japanese potters. Ranging from young artists to master craftsmen, the works evoke a wonderful feeling of harmony. The five senses are magnified as you hold a bowl in your palms, with each acting as their own microcosmos.

Ippodo has always focused on the tea-related artworks as a core cultural component of Japan, with tea ceremony and its accoutrements at the center of that ideology. This is the second exhibition of tea wares by these Ippodo artists, as the first was held in 2014. Exhibiting artists include Keiji Ito, Hiromi Itabashi, Kohei Nakamura, Kyusetsu Miwa XII, Chozaemon Ohi XI, Tetsu Suzuki, Shiro Tsujimura among others.

With the unique process of tea ceremony, appreciation for tea wares differs from that of other crafts. Unlike an artwork that is only appreciated visually, tea ceremony embodies beauty and joyfulness, as achieved through contemplation and tranquility. During the ceremony, the bowl is raised with both hands, and the drinker savors the texture of the piece against his or her lips. Reflection on the green color of the tea, the full weight of the vessel, and the shape of the kodai, or the foot of the bowl, all add to the experience of pleasure.

The tea wares are transformed through shape and glaze, the full object ripe with discovery in detail. Each modification, no matter how small, becomes a source of appreciation–a culmination of Japanese aesthetics.

The Japanese tea ceremony was first developed during the Azuchi Momoyama period (1573-1603), with the wabi-cha style perfected by Sen-no-Rikyu (1522-91), which spread widely among the Samurai class. The guest entrance to the tea ceremony room is extremely small and low, forcing the guests to enter on their knees, to oblige the Samurai to leave swords outside. A Samurai valued his sword as highly as his life, so to part with it in order to participate in tea ceremony no doubt created a heightened atmosphere of humility. As such, the small tea room must have offered the Samurai a unique form of freedom, equalizing all who entered.

While the earliest tea ceremonies were restricted to feudal lords and high-ranking samurai, the rituals gradually became popular with the rich merchant class during the mid-Edo period (18th century). Edo-period tea ceremony was characterized by refinement, combining the Zen Buddhism with the Way of the Samurai. From spiritual sublimation across society to the delicate and intensive craftsmanship of utensils, (particularly tea bowls), tea ceremony grew in cultural and ultimately historical importance. At different points in history, a single tea bowl has even been considered more important than territory. A simple tea bowl contains a sense of great presence and infinite power: Microcosms of a great maternal spirit.
Various traditional styles of tea bowl continue today: Raku, Ido, Hagi, Karatsu and Shino are still being created. Japanese potters often dedicate their lives to the creation of the perfect tea bowl. The tea master devotes all his energies to a single bowl of tea to make it a unique encounter, allowing the guest to appreciate the experience through all five senses.

But the sensory experience of the tea ceremony is not merely solitary. The ritual allows for important communication; it joins people together, releasing the boundlessness of imagination to flourish. In a single tea bowl, happiness can be found.

Happy New Year 2018 from Ippodo Gallery NY !


Takashi Tomo-oka
Plum, 2016

Happy New Year!

Thank you for your loyal patronage and friendship throughout the year 2017.

We at Ippodo Gallery would like to continue introducing the world to beauty – particularly that which has been created by humans. We believe in the power of art to impact us in the dark world of today.

We are happy to share, support and celebrate living artists together with you.

In 2018, Ippodo Gallery will have its 10th anniversary. We are planning a special event in Kyoto in order to express our gratitude for your support. Please await our announcement!

Wishing 2018 to be a year of delight and beauty for you!

*Please note that our gallery will be closed from January 1 to 22.
Due to the director’s business trip, our open hours during the winter time will be irregular until February 11th.
Please make a prior appointment if you would like to visit us during these time period.

Ripples & Blooms : Metal Works by Shota Suzuki from Dec 7!

2_2_B17304_Cherry Red Leaf

Mon. – Fri. : 11 6 p.m. | Saturdays by appointment

Opening Reception with Shota Suzuki:
Thursday, December 7, 6 – 8 p.m.

Ippodo Gallery is pleased to present Shota Suzuki (b. 1987), in his first ever solo exhibition outside Japan this December. The works speak for themselves, just as nature does: Suzuki’s work celebrates the beauty of nature as the seasons change, thus this winter showcase will provide a window into the beauties of fall and spring, as well as a warm respite from the cold.

Shota Suzuki’s metalworks capture the essence of nature, just before the winds of change erase precious, ephemeral moments. From the seeds of a dandelion about to float away on the breeze to the faint scent of the cherry blossom just before it falls, Suzuki’s work has a breathless quality, functioning almost as a time capsule for mother nature. In these pieces, the dual delicacy and tenacity of life is revealed.

Suzuki studied botany from childhood, and the art of metalwork at university. His intensity and scholastic approach to a love of plants has resulted in an attention to detail in his pieces so realistic that they blend in with real leaves and blooms. Yet despite this careful approach, the fascination still feels effortless. In their imitation of the natural world, it is as if they encourage us all to be more natural.

Suzuki works from a studio situated amid the temples of Kyōto’s Kaneichō in Higashiyama Ward, the former home of the foundries which produced temple bells. From his desk, he shapes leaves, nuts, and flowers from the metal, taking the natural world from fleeting to eternal.

At just 30 years old, Suzuki completed his metal course at the Tohoku University of Art and Design in 2010, and pursued research there in 2011. That year he received a prize in excellence for jewelry from the Itami International Contemporary Craft Exhibition. His work has been shown in group exhibitions at the Tokyo Metropolitan Art Museum twice, at the Yamazaki Mazak Museum in Aichi, Japan, at the Shiogama Sugimura Jun Museum of Art in Miyagi, Japan, and in galleries in Seoul, Edinburgh and Munich.

For more information and to view an online catalogue, please visit our Exhibition page, or see our official press release.

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Please click above to watch the special metal-making video!