Reiji Omori solo mini exhibition

We are pleased to announce, rather suddenly, a solo exhibition by Reiji Omori. Why so sudden? Because new forms of Shino have been born. Their names are Musugoke Shino, Ofu Shino, and Kirinoka Shino.

Musugoke Shino is made primarily with Bizen clay. Its unusual grey-green surface immediately catches the eye, but its greatest appeal lies in the classical dignity it possesses as Shino and in how surprisingly natural this colour feels within the tradition. If someone told you that it had existed for 400 years, you might well believe them. It is a new form that stands firmly in the very center of the classical tradition and its continuing development. The name reflects both the fact that it emerged from Omori’s long life as a potter and his respect for Bizen, its long history, and its clay.

Ofu Shino is created by applying white slip and iron painting, followed by separate applications of feldspar glaze and copper-green glaze. Beneath the feldspar glaze, the copper-green glaze develops red tones, while pale exposed areas reminiscent of kohiki also appear. The result is vivid, yet it retains a strong sense of weight and substance. Its name comes from its appearance and is pronounced Ofu. The key point is that it is not Unkin.

Kirinoka Shino is likewise created over white slip and iron painting, with two different feldspar glazes applied separately. Highlights include Omori’s distinctive glaze character, the variations in tone created by the different glaze applications, and the way the iron bleeds through the surface. These elements form layers that give the work a remarkable sense of depth. Kirinoka refers to an unbroken veil of mist, as though incense were continuously burning.

Some may have an image of Omori as someone whose mind is filled entirely with the Momoyama period, but in fact he is constantly exploring new possibilities in everything from raw materials and firing methods to design. These new forms of Shino are the result of that exploration. New stimuli create new perspectives on the classics, deepening the work as a whole and, in turn, shaping ceramics for the present day. At least, that is how I see it.

Alongside his increasingly refined Shino and Nezumi-Shino, this exhibition will focus exclusively on chawan, travelling chawan, and guinomi, with approximately 40 to 50 works on display. We warmly invite you to visit.