Ryoko Suzuki

She says that because she is never overly absorbed in any single stage of the process, she is able to view her work objectively. The subtle restraint that characterizes her ceramics brings a sense of calm to the viewer and lends quiet beauty to the space they inhabit.Drawing upon ink paintings from the Song through Qing dynasties in China as the source of her painted decoration, Suzuki employs a wide range of motifs, including landscapes, dragons, and floral-and-butterfly designs. Among them, however, the karako (Chinese children) is her most representative motif. The karako she depicts smile with childlike innocence and, at times, cast enigmatic glances toward the viewer. Never constrained by the appearance of historical ceramics, Suzuki instead understands the appeal of ceramics through their underlying structure. Her freely playful spirit, cultivated through her independent practice, is evident throughout her work.