Kogei: The Art of Japanese craft : Summer Selections from Ippodo Gallery

Shin Fujihira (1922) was a Japanese Asian Modern & Contemporary artist who was born in 1922. His work was featured in several exhibitions at key galleries and museums.

Hiroshi Goseki (1988) studied Bizenware under Living National Treasure, Jun Isezaki, and as a result, his pieces reflect the spirit and spontaneous nature of a Bizen firing. The building method used is a unique combination of hand building and wheel throwing, producing undulating edges and unique silhouettes. Through the wood fire, his pieces retain incredible colors of blue and red.

Keiji Ito (1968),ceramicist and sculptor, is well known not only for his minimalist style but also for being an invaluable mentor and inspiration for younger generations or aspiring artists. Ito has won numerous awards for his artistic achievements and has exhibited in countless solo and group exhibitions. He is presently a member of the International Association of Ceramics.

Shinobu Kawase (1989) belongs to the third generation of a distinguished family of ceramic artists. Since the early 1970s Shinobu has specialized in celadon wares, which have a green, pale blue, or grayish-green glaze. The effect is achieved by adding a small portion of iron to the glaze and firing the vessels in a reducing atmosphere. The artist draws much of his inspiration from Chinese Southern Song dynasty (1127–1279) celadons.

Ken Matsubara (1949) throughout the world from the Tokyo Metropolitan Art Museum to Paris and Cologne, Matsubara’s paintings are serene, drifting, yet contained and dynamic. From intense brush strokes to delicate texture, each painting represents a return to nature, an appreciation and consideration of the earth and natural elements.

Mitsukuni Misaki (1951) has an urge to create powerful, lifelike works, encapsulating the dual strength and subtlety of beauty in nature. His works have an unnameable sensation, with asymmetrical works conveying the desire for serenity. The works are referred to as Saiyuudeiki, noted by the Japan Ceramic Society Director Koichi Mori for a well-balanced, ample form. Saiyuudeiki loosely translates to ‘colored stoneware vessels,’’ with Sai 彩 as color, Yuu 釉 as glaze, Dei 泥 as clay and Ki 器 as vessel. The style stands in marked contrast to Bian-hu, a sleeker, flatter part of his cannon.

Akio Niisato (1977) makes tea bowls of a distinctively simple, yet striking aesthetic. His work displays a mastery of ceramic material and innovation in design. Niisato currently lives and works in Toki, Japan.

Kai Tsujimura’s (1976) work breathes a new life into the traditional styles of tea
bowls. Kai’s father, Shiro Tsujimura, has been a mentor to him since the early days.
His study of traditional black, Kohiki, and Ido tea ware influence his style of making. All fired in an atmospheric anagama kiln, the works all display a sense of life, as
if the process of fire woke up the clay from slumber.

Kai Tsujimura’s (1976) work breathes a new life into the traditional styles of tea
bowls. Kai’s father, Shiro Tsujimura, has been a mentor to him since the early days.
His study of traditional black, Kohiki, and Ido tea ware influence his style of making. All fired in an atmospheric anagama kiln, the works all display a sense of life, as
if the process of fire woke up the clay from slumber.