Past Exhibitions

Makoto Yamaguchi: Shino & Oribe

January 3, 2021 - January 11, 2021

Our first special exhibition of 2021 will be “Makoto Yamaguchi: Shino & Oribe.”The exhibition will feature Shino, to which Yamaguchi devoted himself throughout 2020 in an effort to “reconsider” and refine his approach, alongside Oribe works including his newly developed 2021 Oribe Rinpa designs.Yamaguchi’s Shino had already established a devoted following for its distinctive qualities—the texture of its surface, the character of the clay, the way the iron decoration bleeds into the glaze, and forms so sharply defined that they can almost feel austere. So when we heard that he intended to “reconsider” his Shino, we were surprised. Then came the invitation: “Come help me fire the kiln.”His concentration was extraordinary. We were called in for a midsummer firing—a season when kiln firing would normally be avoided—and although we assisted for less than two days, the scene was almost infernal, with flames bursting from the kiln mouth. Yet throughout it all, Yamaguchi’s eyes seemed fixed not on what was happening in front of him, but one or two steps beyond.Through this willingness to throw himself into the fire, so to speak, combined with meticulous research and experimentation, a new Shino of remarkable depth and intensity emerged.And then there is Oribe.Yamaguchi combines bold compositions that take full advantage of the depth and dimensionality unique to three-dimensional forms with elements drawn from classical Japanese design. To these he adds the textures and unpredictable transformations that only the kiln can produce, creating works that embody the spirit of Oribe in a distinctly contemporary form.For this exhibition, we also asked him to introduce motifs from Chōjū-giga, the celebrated medieval scrolls depicting frolicking animals. The combination of powerful forms and finely detailed iron painting has always given his work a certain grandeur, but the addition of these playful creatures seems to bring with it a new atmosphere—as though a soft breeze has suddenly begun to blow through the work.We believe this exhibition possesses the energy to blow away some of the gloom that continues to linger amid the COVID-19 pandemic.We very much hope you will come and see the exhibition.

Toru Ichikawa solo exhibition

February 20, 2021 - February 28, 2021

This year, we are once again delighted to present a solo exhibition by Ichikawa.As I wrote at some length last time, Ichikawa occupies a rather unusual position among the artists we work with. His fiercely individual vision, together with the uncompromising commitment with which he pursues it, continues to give his work an extraordinary degree of completeness. This year, I believe you will be able to see how that vision has evolved even further.Each of Ichikawa’s designs has its own title and its own underlying idea. Some reflect contemporary society, while others draw inspiration from classical sources, among many other things. When he explains these ideas to me, however, I must admit that I am not learned enough to fully understand them. Each time, I go away and do some research, but such hastily acquired knowledge rarely takes me far enough to grasp the deeper relationship between the idea and the work itself. In the end, my thoughts tend to return to something far more instinctive: what on earth has this man been eating all his life to end up making work like this?What I mean is that there are many ways to enjoy Ichikawa’s work, but above all, his ceramics possess such a compelling presence that they leave you wondering even about what the artist eats.So what exactly makes them so compelling? Allow me to borrow what I recently wrote in response to a questionnaire for Art Collectors’, a Japanese art magazine. Since I had contributed to it, I took the opportunity to buy a copy myself for the first time.An almost poisonous flamboyance combined with a raw, untamed quality. Perhaps it is something like finding yourself mesmerized by a poison dart frog. Drawing on everything from traditional ceramic techniques to contemporary technologies, Ichikawa carries his powerful designs through with absolute conviction. I believe it is this extraordinary, uncompromising presence that draws people to his work.Alongside popular works introduced last year, including Lycoris Radiata and Calm and Flame, Ichikawa will also present works featuring entirely new designs created for this exhibition. Unfortunately, they were not completed in time to be included on the exhibition invitation, which makes us all the more excited to reveal them at the show.We very much hope you will come and see the exhibition.

An Evening with Makoto Yamaguchi at Nogizaka Shin

June 11, 2021 - June 14, 2021

We are delighted to present “An Evening with Makoto Yamaguchi at Nogizaka Shin.”For this special occasion, the artist creates vessels specifically for the event, and Shinji Ishida, owner and chef of Nogizaka Shin, creates a menu especially for those vessels. The dishes are then served to guests at the counter, with the artist himself present.This marks the ninth edition of our artist × Nogizaka Shin series.To coincide with the fifth anniversary of Nogizaka Shin, we are delighted to welcome back Makoto Yamaguchi, the very first artist to take part in this series.Through his rigorous exploration of classical ceramics, Yamaguchi has acquired a remarkable depth of knowledge and technical skill, which he brings to his work as a ceramic artist living and creating in the present day. His ability to create something fresh and new while retaining the essential appeal of ceramics comes precisely from his profound understanding of the very nature of the medium.Four full years have passed since Yamaguchi first joined us in 2017. During that time, Shinji Ishida, owner and chef of Nogizaka Shin, has continued to refine his craft through encounters and collaborations with a wide range of artists.Now, both return to this collaboration having evolved considerably over those four years.We invite you to experience their reunion—a new encounter between the ceramics of Makoto Yamaguchi and the cuisine of Shinji Ishida.

Makoto Hashimoto solo exhibition

June 19, 2021 - June 27, 2021

Working in this field, it seems only natural to find oneself thinking about what makes a ceramic work good or bad—and, ultimately, what it even means for something to be “beautiful.”I find myself looking for some kind of underlying principle: seeing and experiencing as many things as possible that I find beautiful, reading books, or even turning to science in search of an answer. Perhaps my own way of thinking tends to take a rather direct, sometimes overly simplistic route.Makoto Hashimoto, on the other hand, creates his work after studying and reflecting deeply on views of nature, religion, philosophy, history, and the ideas of great thinkers, and from these he has established his own position as an artist.Perhaps because of this, when I speak with Hashimoto, I sometimes feel as though I am not speaking with one person, but with several people who share a single, coherent will. Through the values and worldview that make up “Makoto Hashimoto”—supported, as it were, by many living, breathing pillars—we are able to look out upon many different landscapes of beauty.That may make him sound rather serious and imposing, but in person he is an exceptionally gentle and charming man. He loves a good joke, too. ♡Hashimoto was born in 1943. He began painting when he entered high school, and at the age of 21 moved to Tokyo with the ambition of becoming a painter. After a series of encounters and experiences, he held his final solo exhibition of paintings at the age of 27 and then turned to ceramics.Today, he works in Nikko, where he built a wood-fired kiln of his own unique design.His forms make use of the natural flow and movement of the clay, while the rich keshiki—the “landscapes” that emerge on their surfaces through repeated firings—lend his works a quiet sense of mystery and depth, something approaching the Japanese aesthetic of yūgen.It is frustrating that photographs can never fully convey these qualities.These are landscapes of beauty seen through Makoto Hashimoto.We hope you will come and take a closer look for yourself.

Yosuke Kojima solo exhibition

July 10, 2021 - July 18, 2021

This year, we are once again delighted to present a solo exhibition by Kojima.The exhibition was originally planned to mark the first firing of his new kiln, but—quite unexpectedly—the COVID-19 pandemic caused delays, and the kiln could not be completed in time...Instead, Kojima devoted the time he would have spent building the kiln to making his work—and the result is an even stronger collection!The exhibition will feature a remarkably diverse range of pieces: unglazed, high-fired ware with a little tanuki bathing inside; Madara Karatsu with contrasting halves created by natural ash glaze and rice-straw ash glaze; and richly expressive Iga ware, where layer upon layer of keshiki—the landscapes created by clay, ash and fire—leave almost every surface with something new to discover.Alongside these characterful, wood-fired sake vessels, we will also present blue-and-white ware for the coming season, silver-decorated pieces, Ido-style ware with its distinctive texture, and hakeme tableware, among many others.Kojima’s works possess a dynamic sense of movement, yet always retain a remarkable coherence as functional vessels. They are stimulating and full of character, but at the same time feel completely natural in the hand and alongside food.They are simply good vessels.We very much hope you will come and see the exhibition.

Masatoshi Shimizu: Ceramics — Seven Colors of the Snake Kiln

September 11, 2021 - September 19, 2021

This year, we are once again delighted to present a solo exhibition by Masatoshi Shimizu. Every year, Shimizu approaches his exhibition with a clear challenge in mind. It is always exciting. And this year, once again, he has delivered. One of the great attractions of Shimizu’s work is the yōhen—the unpredictable transformations created by the firing—in his jagama, or “snake kiln,” a low, single-chambered wood-fired kiln. This year, remarkably, he has developed these effects in seven distinct variations. Alongside his popular unglazed, high-fired ware and copper-red shinsha pieces, the exhibition will feature works with a rice-straw ash glaze reminiscent of Madara Karatsu, as well as a new blue series. His white works have also taken on a different character through new techniques combining hikidashi—removing pieces from the kiln while still extremely hot—with carbonization firing. We call the exhibition “Seven Colors,” but there are actually a few more variations, including works using aka-dobe, or red slip. His red-slip pieces have become even more powerful and expressive this year. And there is one more! For another project, we had asked Shimizu to make some painted pieces, and there was something wonderfully mysterious and slightly uncanny about his painting that caught our attention. So this time, we asked him to paint yōkai—supernatural beings from Japanese folklore. It is easy enough to be the one asking; being the one who actually has to paint them is another matter entirely. But Shimizu is such a sincere and kind-hearted man that we shamelessly took advantage of his good nature and pushed him into doing it. And we are very glad we did. We hope you will come and discover this new development in Masatoshi Shimizu’s work.

Tomohiro Matsumoto solo exhibition

October 2, 2021 - October 10, 2021

We are delighted to present a solo exhibition by Tomohiro Matsumoto. This year, once again, the exhibition will feature a wide variety of works, including Shigaraki, Yūka Shigaraki, and overglaze red-painted ware.Now, Yūka Shigaraki is a technique unique to Matsumoto, at least as far as I know, and I consider it a brilliant invention. The process involves first firing Shigaraki clay in an anagama, then applying glaze to the fired piece and firing it once again.Shigaraki fired in an anagama is prized for its hiiro fire color and natural ash glaze. But as many of you know, wood-fired kilns, including anagama, are notoriously difficult to control, and not everything that emerges after several days of firing will become a finished work. If a piece fails to develop a good keshiki—the desired “landscape” created by the firing—it may be fired again. Cracks and chips are also common.So after going through all that trouble to produce a piece of Shigaraki, who would then think of deliberately covering it with glaze and putting it back into the kiln yet again?A madman, perhaps.And yet, his idea worked beautifully. The transformations created during the original Shigaraki firing become sealed beneath the glaze, resulting in ceramics with a wonderfully mysterious character unlike anything else.This year, Matsumoto will also present a large number of chopstick rests, which have recently become something of an obsession for him. Shigaraki, Oribe, lapis blue, bronze, turquoise blue, and more. Some are even large enough to serve as little salt dishes.Apparently, he is having so much fun making chopstick rests that he simply cannot stop...Impressive.This exhibition promises to have a slightly different atmosphere from usual.We look forward to welcoming you.

Kazuhiro Kanda & Yu Sugimoto: Carved Calligraphy and Shigaraki

October 16, 2021 - October 24, 2021

We are delighted to finally present the two-person exhibition that unfortunately had to be cancelled last year due to the COVID-19 pandemic!Kanda has carved the signature seals used by a number of artists we work with, and it was through this connection that we first invited him to exhibit together with Sugimoto two years ago. In fact, the seal used by our own gallery was also carved by Kanda, and we adopted his design as our official seal just as he made it.Seal carving is an art of expression within an extraordinarily small space and essentially a single color. It is difficult to imagine the concentration and sensitivity required for every single cut, yet what emerges from this tiny surface possesses a remarkable density and presence.For this exhibition, Kanda will present his carved calligraphy works. With the scale enlarged, their impact becomes even greater! They would make wonderful signs, too.Sugimoto’s works this year were not actually conceived in response to Kanda’s, but we asked him to create Shigaraki pieces incorporating openwork carving.And, as usual, I got my way by persistently—and rather insidiously—pestering him about it.Every time I had some reason to contact him, I would bring it up again. And again. And again. If you keep doing that to people, one of three things tends to happen: they disappear, they get angry, or they finally give in and listen.This time, it worked.I was perfectly aware that Shigaraki clay, filled as it is with stones and coarse particles, is hardly an ideal material for openwork carving. Each time the carving tool strikes a stone, the small stone has to be carefully removed without disturbing the form, and the hole it leaves behind must then be filled with clay. This process is repeated over and over again.And after all that, the piece is fired in a wood-burning kiln. If the firing fails to produce a good keshiki—the desired “landscape” on the surface—it has to be fired again. If the delicate carved sections crack during drying or firing, the entire piece is rejected.It is a hellish process.And I knew all of this perfectly well, yet continued relentlessly pushing my own selfish request upon him.I’m sorry.

Koma Santa & Koma Reindeer Exhibition

November 20, 2021 - November 28, 2021

I have never seen a god or a Buddha. And yet, when we encounter something beyond our understanding, or are struck by something so profoundly moving that thought itself seems to stop, we cannot help but feel that perhaps there is something beyond the reach of human knowledge.Santa Claus and his reindeer, symbols of Christmas in Japan. And the lions and komainu—guardian figures deeply familiar to the Japanese and a subject with which I have become somewhat obsessed in my exhibitions.What happens when you bring them together?Koma Santa & Koma Reindeer.At this point, I am no longer entirely sure what they are supposed to be. Nevertheless, I pleaded with a group of ceramic artists who possess—at least in my opinion—an exceptionally sharp sense of form and design, as well as outstanding technical skill, and somehow managed to turn the idea into reality.There is that inexplicable sense of anticipation we have associated with Christmas since childhood, together with the particular feeling of the winter air.Koma Santa & Koma Reindeer take all of that and push it to its absolute peak.This winter, in Asakusa, you will encounter God.Perhaps.

Takashi Tanimoto: Iga and White Porcelain, Occasionally Black

December 4, 2021 - December 12, 2021

We are delighted to present Tanimoto’s seventh solo exhibition at our gallery.Japanese ceramics began with earthenware and developed through stoneware and glazed pottery to porcelain. Last year, we asked Tanimoto to explore Jōmon pottery as a theme. This year, he moves to the other end of that long history, presenting works in porcelain.At first glance, Tanimoto’s forms can appear almost as though they are on the verge of falling apart. Yet I believe they maintain a peculiar and highly addictive sense of balance. By keeping the surfaces of these works restrained and relatively uniform, the strength and individuality of their forms become even more pronounced.These forms have an exceptional affinity with the dramatic yōhen effects produced by the firing of Iga ware, but white porcelain reveals an entirely different kind of addictive quality.We hope you will enjoy discovering the difference between the two.

Hideki Yanashita solo exhibition

January 3, 2022 - January 11, 2022

As our first special exhibition of 2022, we are delighted to present Toshi Yanashita’s fifth solo exhibition at our gallery.Almost every year, I find myself writing that “Yanashita’s work possesses an active stillness.” He is the kind of artist who approaches ceramics as though he were sharpening a blade—or at least that is how I see him—so there is not always much new for me to add. In the end, it comes down to this: “The blade has become even sharper. Come and see!”For Yanashita, however, whose work is deeply rooted in the aesthetics of wabi-sabi, this continual refinement is essential. By deepening his understanding of classical masterpieces and continuing to sharpen his approach, insights that belong to Yanashita as an artist living in the present naturally find their way into the work. The result, perhaps, is something we might call “a contemporary embodiment of wabi-sabi by Toshi Yanashita.”This year, a new design called Katamigawari has been added to his body of work. Bringing two contrasting elements together inevitably creates a sense of movement, and therein lies much of its appeal. Yet Yanashita’s Katamigawari still possesses that characteristic “stillness.”In the many subtle choices through which he transforms an inherently dynamic design into something imbued with an air of stillness, I feel we are given a small glimpse into the very essence of what Yanashita seeks through his work.The exhibition will feature new tea wares, flower vessels, sake wares, and tableware.We very much hope you will come and see the exhibition.

An Evening with Genkaku-Sadamitsu Sugimoto at Nogizaka Shin

March 25, 2022 - March 28, 2022

We are delighted to present “An Evening with Genkaku-Sadamitsu Sugimoto at Nogizaka Shin.”Thanks to your continued support, our artist × Nogizaka Shin series has now reached its tenth edition. To mark this special occasion, we are honored to welcome Genkaku-Sadamitsu Sugimoto, a ceramic artist based in Shigaraki.Sugimoto creates his work with the philosophy and aesthetics of wabi-sabi at its core and is widely regarded as one of the leading figures in the field of tea ceramics. His work is admired not only by practitioners of the tea ceremony, but also by chefs and collectors, and his solo exhibitions have been held at venues including the Nomura Art Museum in Kyoto as well as galleries overseas.As always, every vessel for this event will be created specifically for the occasion. The works will arrive at Nogizaka Shin just one week before the event. Only then will Shinji Ishida of Nogizaka Shin begin developing a menu in response to the vessels, with each dish ultimately served to guests at the counter in the presence of the artist himself.Until now, this series has primarily featured collaborations with younger ceramic artists. How, then, will Ishida respond to the work of Sugimoto?We have a feeling that this tenth edition will have a character quite different from anything we have presented before.We very much hope you will join us.

Shintaro Uchimura solo exhibition

April 9, 2022 - April 17, 2022

Our gallery is moving from Asakusa to Hatchobori, and we are delighted to begin this new chapter with our first solo exhibition by Shintaro Uchimura. We hope you will continue to support us in our new location.As many of you may already know, Uchimura works in Itoshima, Fukuoka, creating primarily Karatsu and Korean-inspired ceramics.I cannot claim to know Itoshima as a whole particularly well, but the surroundings of Uchimura’s studio have left a strong impression on me. There is abundant greenery, a gentle river flowing nearby, and a rustic stone wall running along its banks. From a large rock within the grounds of his studio, one can look out over this scenery—a wonderfully peaceful place from which to enjoy the changing seasons. Perhaps it is the harmony between natural and man-made beauty that gives the place its distinctive atmosphere.Whether or not this environment has directly influenced his work, I cannot say, but I sense something of the same atmosphere in Uchimura’s ceramics.His wheel-throwing and trimming are refined and precise, yet enlivened by subtle variations in rhythm that give the vessels a reassuring sense of balance. His distinctive glazes and clay surfaces possess a quiet, weathered character while retaining a subtle luster, allowing us to sense something of the beauty of nature within them.We cannot hold a stone wall or a flowing river in our hands, but through Uchimura’s work, perhaps we can experience something of that same feeling.The exhibition will feature tea wares, flower vessels, sake wares, and tableware, as well as vessels suitable for Chinese tea. These forms suit Uchimura’s style remarkably well. We will also present his Gen’etsu and Mozō works, styles rarely explored by contemporary ceramic artists.We very much hope you will come and see the exhibition.

Kazuhiro Fukushima solo exhibition

April 23, 2022 - May 1, 2022

We are delighted to present Fukushima’s first solo exhibition with us in two years.Fukushima is perhaps best known for his rugged, powerful Iga ware, but this year the exhibition will also introduce several new directions in his work.His silver-decorated pieces, covered in a monochromatic silver surface, bring the forms and textures of the vessels themselves into sharper focus. His pale blue-white porcelain has a gentle greenish tint, with a softness both in texture and color. And then there is Iga Shino: fired without a saya, or protective kiln box, the pieces are directly exposed to ash in the kiln, producing distinctive transformations much like those found in Iga ware.Works such as the silver-decorated pieces and blue-white porcelain may seem far removed from the image many of us associate with Fukushima, making them all the more fresh and exciting. But in terms of sheer visual impact, it is perhaps the Iga Shino that stands out most.Fukushima has previously presented works he calls Iga Oribe. In that case, the “Iga” referred to the clay—the material itself. In his new Iga Shino, however, “Iga” refers to the firing.Shino originated in Mino and is normally fired inside a saya to protect the piece from direct exposure to flame and ash. Fukushima’s Iga Shino, by contrast, is fired without one, deliberately incorporating the dramatic kiln effects characteristic of Iga ware.The feldspar used by Fukushima sometimes reacts with the natural ash glaze to produce striking shades of purple, and the powerful transformations created across the surfaces are unmistakably Iga in character. The result, I believe, is a remarkable new body of work—fresh and unexpected, yet unmistakably Fukushima.The exhibition will feature his signature Iga ware alongside new tea wares, flower vessels, sake wares, and tableware.This will be our second special exhibition since moving to our new gallery.We very much hope you will come and see it.Saya: A protective container placed around a ceramic work inside the kiln to shield it from direct exposure to flame and ash.

Yu Nishioka solo exhibition

May 14, 2022 - May 22, 2022

For the first time since January 2020, we are delighted to present another solo exhibition by Shinsuke Nishioka.The first thing that struck me was just how dramatically richer and more varied his expression has become.Nishioka has gained full command of the wood-fired kiln he built in 2019, while greatly expanding the range of his forms and designs. At the same time, he has continued to explore ever more deeply the textures, materials, and methods of making that define ceramics. Seeing this development, I was reminded once again just how deeply Nishioka loves pottery.And there is more!Even within Kizeto, the style for which Nishioka is best known, he will unveil a new variation that he calls Kokukode.Nishioka himself describes it as “a fusion of Kizeto and Raku,” and visually, that is certainly what it appears to be. But the story behind the name is quite something in itself.The kokuko, or black fox, is a mythical creature found in Chinese and Japanese tradition and is regarded as a symbol of peace. The “black” (koku) comes from the color of the work and its incorporation of elements of Raku. The “fox” (ko) comes from kitsune-age, another name for abura-age, or fried tofu. With its dark version of the characteristic abura-age surface associated with Kizeto, the work came to be called Kokukode Kizeto.The work shown as No. 1 in the catalogue has yet another name: Ena-guri.This form takes inspiration from Chōjirō’s famous Raku tea bowl Mukiguri (“Peeled Chestnut”), reinterpreting it in the hexagonal form traditionally associated with Kizeto. The name Ena-guri comes from Ena chestnuts, a celebrated local specialty of the Mino region where Nishioka’s kiln is located.We may think of a ceramic object as something primarily enjoyed with the eyes, but once we free ourselves from that limitation and approach it from different angles, even tea and sake somehow seem to taste better.And of course, the ceramics themselves are exceptional. The superb abura-age skin has acquired an added depth and austerity, and together with the fascination of Nishioka’s forms, the works simply command your attention.Come and see the work of an artist who, right now, is absolutely exploding with creative energy.

Takashi Soga solo exhibition

June 4, 2022 - June 12, 2022

For the first time in quite a while, we are delighted to present a solo exhibition by Soga—his first at our gallery in nearly three years.There is nothing particularly new here.Instead, this exhibition offers a glimpse of where Soga stands today on his lifelong pursuit of Ko-Bizen, or Old Bizen ware.Put like that, it makes for a terribly unexciting exhibition introduction and, from a commercial point of view, gives me very little to work with. But with my limited powers of expression, there is not much else I can do.What I can say with certainty is that his works possess a beauty breathtaking enough to stop you in your tracks.What Soga has been patiently and steadily refining over the years is unmistakably gaining in brilliance. Precisely because the work is so restrained and unadorned, the pure appeal of ceramics itself comes sharply into focus.We hope you will come and experience it for yourself.I have not seen Soga in nearly three years, so before the exhibition I plan to travel to Bizen to see what he is thinking about and how he is working today. I do not usually post much about my visits to artists on social media, but this time I hope to share photographs and other material showing Soga’s pottery tools, kiln, techniques, and his thoroughly committed approach to following the traditions of Ko-Bizen. We hope you will enjoy taking a look.

Yosuke Kojima: Gold & Silver

June 25, 2022 - July 3, 2022

This year, we are once again delighted to present a solo exhibition by Yosuke Kojima.In 2018, we held an exhibition devoted to his silver-decorated ware. This year, we take it one step further with “Gold & Silver.”The technique of completely covering a ceramic surface with silver is said to have originated when the renowned artist and gastronome Rosanjin applied silver to unsuccessful Bizen pieces and refired them, making it a relatively recent development in the history of Japanese ceramics.Covered entirely in silver, the texture of the surface comes vividly to the fore, giving the work a distinctive character. The result is a fascinating surface that combines the organic quality of ceramics with the inorganic, metallic nature of silver.At first glance, these pieces may seem rather unconventional as functional vessels. Yet they possess something of the versatility of white porcelain together with the warmth and character of earthenware, making them both intriguing and surprisingly easy to use. Another pleasure is the way the silver gradually oxidizes with age, developing a subdued, antique-like patina. It can also be polished back to a bright shine if desired.And then there is gold.The surface is fired with almost pure gold—99.7% gold, in fact—giving it a richness that would probably have brought tears of joy to Toyotomi Hideyoshi. Yet what makes these works particularly interesting is that the underlying ceramic surface still plays an essential role.There is the contrast between the brilliant gleam of gold over glazed areas and the rougher texture where the clay body remains exposed, together with the irresistible beauty of gold itself—something that human beings seem almost instinctively drawn to.I have spent quite a while talking about all this glitter and shine, but at the heart of these works lies Kojima’s remarkable ability to create dynamic forms while maintaining an exquisite sense of balance.The exhibition will feature tea wares, flower vessels, sake wares, and tableware perfectly suited to the coming season.We very much hope you will come and see the exhibition.

Katsunori Sawa solo exhibiton

July 9, 2022 - July 18, 2022

This year, we are once again delighted to present a solo exhibition by Katsunori Sawa.For this exhibition, Sawa will also present works incorporating yobitsugi.Yobitsugi is a traditional repair technique in which a missing section of a chipped or broken vessel is replaced with a fragment from a different piece of pottery. The works in this exhibition, however, are not repairs. Instead, Sawa deliberately cuts into perfectly intact vessels and inserts fragments of other ceramics as part of the design. Unlike traditional yobitsugi repair, every element here is entirely intentional.Perhaps the essence of yobitsugi lies in introducing something suddenly and unmistakably different while preserving the overall flow of the form, transforming what might otherwise feel out of place into an integral part of the design. But to deliberately go out of one’s way to do this adds a distinctly Oribe-like sense of playfulness.There is simply no way this cannot be fun.The exhibition will also feature Sawa’s signature Shigaraki and Oribe works. The rustic, untamed character of Shigaraki and the highly designed, playful nature of Oribe make an excellent pairing, each bringing out the qualities of the other.We very much hope you will come and see the exhibition.

An Evening with Satoshi Sugie at Nogizaka Shin

August 5, 2022 - August 8, 2022

We are delighted to present “An Evening with Satoshi Sugie at Nogizaka Shin.” For the eleventh edition of this series, we welcome glass artist Satoshi Sugie.All of Sugie’s works are made from lead-free crystal glass. Crystal glass can vary greatly in quality, but Sugie’s crystal is distinguished by its exceptional clarity and lustrous brilliance, as well as its strength and durability. His works combine beauty with genuine practicality.He also makes full use of the unique qualities of glass to create a remarkably diverse range of forms. Every piece possesses a sense of refinement and pairs beautifully with Japanese cuisine. The fact that his work is used and admired by so many chefs is perhaps the best testament to this.For this event, every dish will be served exclusively in glassware. How will Shinji Ishida, owner and chef of Nogizaka Shin, respond to this new challenge? We invite you to experience it for yourself at the counter, with the artist himself present.We sincerely look forward to welcoming you.

Genkaku-Sadamitsu Sugimoto solo exhibition

September 3, 2022 - September 11, 2022

Following “An Evening with Genkaku Sadamitsu Sugimoto at Nogizaka Shin,” held this March, we are delighted to present a solo exhibition by Genkaku Sadamitsu Sugimoto.When one hears that an artist creates ceramics with wabi-sabi at the heart of his practice, it can be easy to imagine something rather conservative. Sugimoto, however, is constantly searching for new discoveries, his eyes sparkling with curiosity as he strives to create something better. And this pursuit extends far beyond ceramics, encompassing everything from Zen painting to the development of new materials using wood.He is also an extraordinarily passionate and logical thinker. I am continually overwhelmed by his ideas, his ability to bring them to life, and the sheer speed at which he does so.For this exhibition, Sugimoto will present his recently perfected Madara ware, as well as a newly refined version of his Chōjirō Black. Unfortunately, the new Chōjirō Black works were not completed in time to be included in the exhibition catalogue.We are told that the Zen master Daiki once said that Chōjirō’s black Raku lies at the very heart of wabi-sabi, so I imagine these works hold a particularly special significance for Sugimoto.This will be the first time in approximately eight years that he has unveiled new Chōjirō Black works.I am so excited that I can hardly sleep...The exhibition will also feature an extensive variety of tea wares, flower vessels, sake wares, and tableware in a wide range of styles, together with sculptures and Zen paintings.Please come and see them!Unfortunately, due to the ongoing situation surrounding COVID-19, we have decided to ask Sugimoto not to attend the exhibition in person.So, as a way of saying, “I’m sorry I can’t be there,” Sugimoto has generously offered to give a Buji sake cup to every customer who makes a purchase during the exhibition.Yes, really!We will prepare plenty, but should we run out, additional cups will be made available for collection at the gallery at a later date.

Masatoshi Shimizu solo exhibition

September 23, 2022 - October 2, 2022

This year, we are once again delighted to present a solo exhibition by Masatoshi Shimizu.Following last year’s exhibition, which featured a wide variety of unglazed and glazed works fired in his jagama, or “snake kiln,” Shimizu returns this year with yet another new direction. His popular Hyakki Yagyō series, combining blue-and-white decoration with dramatic kiln transformations, has also become even more refined.I think of Shimizu as an exceptionally versatile artist when it comes to yōhen—the transformations and effects produced through firing. What fascinates me about his work is the way he makes full use of the jagama and various other types of kilns to draw out the inherent qualities of different materials in a manner entirely his own.His approach ranges from classical traditions to more modern expressions, always incorporating his own interpretations. There is a flexibility to his practice—or perhaps it is simply an open and genuine spirit of exploration—that continually leads him in directions we cannot predict. Every year, he keeps us wondering what he will do next.Not wanting to be outdone by Shimizu, I decided to change the orientation of the catalogue this year.Is it a little harder to read??We very much hope you will come and see the exhibition.Jagama (“snake kiln”): A long, low-ceilinged wood-fired kiln whose shape resembles a snake. Shimizu’s jagama consists of a single chamber.

Kazuhiro Kanda & Yu Sugimoto: Carved Calligraphy and Shigaraki

October 8, 2022 - October 16, 2022

This year, we are once again delighted to present an exhibition by Kazuhiro Kanda and Yu Sugimoto.Our relationship with Kanda began through the signature seals he had carved for several of the ceramic artists we work with. In fact, our gallery logo, which also appears in this catalogue, is one of Kanda’s creations.Kanda himself is an avid lover of ceramics and has amassed quite a collection. He also enjoys fishing and cooking. Among the artists who have been invited to dine at his home, his cooking is apparently so impressive that his house has come to be known as “Kanda Ryotei”—Kanda’s very own traditional Japanese restaurant.Perhaps it is no surprise, then, that his work pairs so naturally with Shigaraki. Bold yet meticulous, his carved calligraphy possesses both a powerful presence and a certain tension. Increasingly, he has also been commissioned to create signs for Japanese restaurants and craft shops. Another distinctive feature of his work is the frequent use of themes drawn from Zen.Sugimoto, meanwhile, will present a further evolution of the “Openwork Shigaraki” that proved so popular last year.As I wrote then, carving intricate openwork into Shigaraki clay—which is filled with stones and coarse particles of all sizes—is nothing short of hell.The material is simply not suited to it.And yet Sugimoto does it.Again this year.And this time, it has evolved even further!!Let me be clear: I am not asking him to do this simply to make him suffer. The results are genuinely wonderful. These are exceptional vessels in which the rustic, untamed character of Shigaraki coexists with the refined elegance created by delicate openwork.The exhibition will feature mukōzuke dishes, sake vessels, ceramic boxes, and other forms that make full use of this openwork technique.There will also be plenty of Shigaraki without openwork, ranging from pieces with dramatic kiln transformations to the warm hiiro fire color that seems perfectly suited to autumn.Tea wares, flower vessels, sake wares, and tableware will all be on display.We look forward to welcoming you.

Hideki Yanashita solo exhibition

November 5, 2022 - November 13, 2022

We are delighted to present Hideki Yanashita’s sixth solo exhibition at our gallery.Every time, I find myself writing these little introductions without even knowing whether anyone actually reads them. And of all the artists we work with, Yanashita is the one I struggle most to write about.As I mentioned last time, he approaches ceramics as though he were sharpening a blade, so in the end there is little more I can say than, “The blade has become even sharper—come and see!”My own thoughts on his work have not changed significantly either. But simply repeating myself would hardly be fair to the small number of people who do read these texts, so I will spare you. If, for some eccentric reason, you are curious, you can find the introductions from his previous five exhibitions on our website.That said, there have been some clearly visible changes in Yanashita’s work.His signature Kase-guro has undergone a major transformation. The new black contains a remarkable range of colors within it, and its texture is highly distinctive. Yet the spirit of wabi-sabi remains entirely intact, and the lineage of Chōjirō can still be clearly felt.I see this not simply as a change, but as an “evolution” of black by Yanashita—an artist who has continued to refine his skills while confronting classical works and deepening his understanding of them. Evolution, after all, is change that emerges from the same DNA.Perhaps Yanashita himself sensed that something fundamental had shifted, because he has changed the name of these works from Kase-guro to Imayaki-guro.Interesting!!I have spent most of this introduction talking about his black ware, but there is much more to see. His red ware now features a new glaze; the yuzuhada, or citron-skin texture, of his Kōetsu Black has become even richer and more supple; and the glaze of his Ido ware has gained greater depth. New designs have also been introduced to his Oribe.There is plenty to discover.We very much hope you will come and see the exhibition.

An Evening with Hiroyumi Suzuki at Nogizaka Shin

June 9, 2023 - June 12, 2023

We are delighted to present “An Evening with Hiroyumi Suzuki at Nogizaka Shin.”For this occasion, we welcome Hiroyumi Suzuki from Iga, Mie Prefecture.Originally from Sendai, Suzuki first became involved with ceramics through a pottery club while at university. By the time he graduated, he had decided to pursue a career as a ceramic artist. Anticipating opposition from those around him, however, he took a rather bold approach: immediately after graduation, he left Japan for Korea to train in ceramics—effectively silencing any objections before they could even be raised.That momentum never faded. After returning to Japan, he established himself as an independent ceramic artist and has built a remarkable reputation in a field where ceramic traditions are often passed down through generations.Driven by an inexhaustible curiosity about ceramics, Suzuki continues to explore and research a remarkably broad range of traditions. His work encompasses Korean ceramics, particularly those of the Joseon dynasty, which originated in the country where he chose to train, as well as Iga and Shigaraki from the region where he now works, together with Raku, Karatsu, Shino, and Oribe.His designs are equally diverse, ranging from interpretations deeply rooted in classical ceramics to highly individual expressions of his own, offering us an extraordinary variety to enjoy.This time, Suzuki was invited at the particular request of Shinji Ishida, owner and chef of Nogizaka Shin.This collaboration may therefore take a slightly different direction from those we have presented in the past.We invite you to join us and experience this very special occasion for yourself.

An Evening with Masayasu Chujo at Nogizaka Shin

June 14, 2024 - June 17, 2024

We are pleased to present “Enjoying Masayasu Chujo at Nogizaka Shin.”For this occasion, we welcome Masayasu Chujo, who works in Hokuto, Yamanashi. Chujo primarily creates utsushi works inspired by Kenzan.When we think of Kenzan ware, our attention tends to be drawn to its designs, craftsmanship, and painted decoration, but the wonderful surface qualities of Chujo’s work are equally important.He carefully selects his raw materials, but one particularly interesting aspect of his process is his use of an electric kiln into which firewood can also be added. He says that firing solely with electric heat can leave the work feeling slightly cold, whereas adding wood gives it a warmer and more appealing character. His work reminds us once again that a truly good vessel is created through the harmony of design, craftsmanship, and texture. Chujo also creates works of his own original design using techniques derived from Kenzan.More than 300 years later, the popularity of Kenzan remains undiminished, particularly among chefs. Many of these works, however, are highly decorative and inevitably demand careful thought about what food should be served on them. We hope you will also look forward to seeing how Ishida, the proprietor of Nogizaka Shin, responds to this challenge.

Shintaro Uchimura solo exhibition

May 9, 2026 - May 17, 2026

This year, we are once again delighted to present a solo exhibition by Shintaro Uchimura. Uchimura’s distinctive interpretations of Korean and Karatsu ware—Uchimura Kōrai and Uchimura Karatsu—are characterized by refined forms and a quiet, weathered beauty. There may be no dramatic changes immediately apparent to the eye, yet within differences as subtle as the thickness of a sheet of paper, the landscapes that emerge on their surfaces have unquestionably grown richer and deeper. These qualities are found among works born from the complex interplay of countless elements: the character of the clay, the soft opacity of the glaze, the way the crazing appears, subtle variations in color, and much more. Naturally, what one discovers in them will differ from person to person. As for me, I find myself excited every single time. Almost breathlessly so. This exhibition will also include okimono, or sculptural objects. Their making is entirely different from that of vessels, yet they reveal the same exquisite sense of balance. And when that balance is combined with the qualities of ceramics that Uchimura has cultivated over many years—well, these are equally exciting to behold. Alongside an outstanding selection of tea wares, flower vessels, sake wares, and tableware, we will present these new works for the first time. We very much hope you will come and see the exhibition.

Toru Ichikawa solo exhibiion

April 4, 2026 - April 12, 2026

For the first time in five years, we are delighted to present a solo exhibition by Ichikawa. One of the most compelling qualities of his work is its striking, almost intoxicating elegance, born from the combination of the organic textures of kairagi glaze and the inorganic brilliance of gold and platinum decoration. Over the years, this quality has continued to gain remarkable depth. It is achieved through subtle adjustments—the color and tone of the glaze, the varying coarseness and fineness of the kairagi texture—as well as an increasingly diverse approach to form and design. What I mean is this: it is easy to be captivated by the flamboyance of his work at first glance, but beneath that surface lies a beauty built upon remarkably delicate thought and structure. And discovering that is part of what makes his work so much fun. Working with kintsugi has also made me think that perhaps human beings are instinctively drawn to the beauty of gold. Gold possesses, in a sense, an almost absolute beauty of its own. By bringing it together with ceramics, Ichikawa may have succeeded in revealing an entirely new dimension in both materials. After all, his ceramics look even cooler than a bar of gold. This exhibition will once again feature new works ranging from tea wares and flower vessels to sake wares and tableware. We very much hope you will come and see the exhibition.

Enjoying Masatoshi Shimizu at Nogizaka Shin

May 22, 2026 - May 25, 2026

We are pleased to present “An Evening with Masatoshi Shimizu at Nogizaka Shin.” This time, we welcome Masatoshi Shimizu, who works in Tamba, Hyogo Prefecture, a pottery-producing region with a history of some 800 years.Tamba ware, counted among Japan’s Six Ancient Kilns, began with unglazed, high-fired stoneware and has developed in many different directions over the centuries. Shimizu works in a wide range of styles, from unglazed ware to cinnabar and feldspar glazes, as well as hikidashi-guro. Another defining feature of his practice is his use of a wood-fired jagama, a type of kiln that has now almost disappeared even in Tamba. The surfaces and kiln effects created by firing works of contemporary design in this primitive kiln have earned high praise from collectors, and his guinomi sometimes sell out at his solo exhibitions.For this occasion, we have asked Shimizu to create adventurous new works with a strong focus on vessels for serving Japanese cuisine. Another of his strengths is his ability to use not only wood-fired kilns but also kilns with other fuel sources according to the effect he is seeking in each piece. We hope this will bring a varied rhythm and flow to the course, allowing you to enjoy the different expressions of his work alongside the cuisine.We warmly invite you to join us.

Yotaro Fujinoki solo exhibition

November 19, 2022 - November 27, 2022

We are delighted to present Yotaro Fujinoki’s first solo exhibition with us in two years.Balanced forms. Meticulous craftsmanship. Beautiful textures. And the distinctive appeal of Karatsu ware.When all of these elements come together, the result is a vessel of remarkable beauty and refinement.I wrote something similar in the introduction to his previous exhibition, but I still believe this is the greatest appeal of Fujinoki’s work. It is easy enough to put into words. Achieving it, however, is another matter entirely.To create a beautifully balanced form, one must first possess that sense of balance—and then have the technical skill to give it physical form. Meticulous craftsmanship requires unwavering attention to every single piece. And without continually studying and exploring ceramics itself, it is impossible to keep producing work that remains genuinely interesting.Fujinoki achieves all of these things at an exceptionally high level, and that quality can be found throughout his work, from tea bowls to the smallest mamezara dishes.His vessels are also made with careful consideration for how they will actually be used, with subtle practical details incorporated throughout. This is surely one of the reasons his work is so highly regarded by chefs and restaurants.Having read this far, you might now be imagining Fujinoki as a terribly serious and rigid sort of person.And yet, he also does things that are completely out there—like the piece featured on the cover of this catalogue.He presented works like this at his previous exhibition as well.Perhaps it is because he knows how much I love Blankey Jet City.This is love.It has to be.

Genkaku-Sadamitsu Sugimoto solo exhibition

September 21, 2024 - September 29, 2024

We are pleased to present our fourth solo exhibition by Gengaku-Sadamitsu Sugimoto.With each exhibition, Sugimoto presents works exploring new techniques, and this time he will show celadon inspired by ceramics of the Song dynasty. Compared with the Goryeo celadon he has made in the past, these new works are distinguished by an even more subdued blue and an appealing surface texture. Their surfaces seem to hold translucency deep within an opaque quality, creating a sense of depth that draws the eye in. I feel that this is a new kind of celadon that nevertheless sits firmly within the natural progression of Sugimoto’s work.Since our Raku Yunomi Exhibition last year, he has apparently been making yunomi quite frequently, and he will present some again this time. These pieces, however, are made in dimensions that also allow them to be used as travelling tea bowls. The idea is to use them regularly as yunomi, allowing them to develop character over time, so that by the time they are used as travelling tea bowls they will already have acquired a wonderful atmosphere. There is something simply enjoyable about this kind of versatility. We hope you will pay particular attention to these pieces as well.The exhibition will present a wide range of works, centering on his popular black, red, white, and Ido pieces. There will also be a particularly strong selection of hanging flower vessels this time. Sugimoto himself will also be present at the gallery for the first time in quite a while. We warmly invite you to visit!

Genkaku Sadamitsu Sugimoto solo exhibition

September 5, 2026 - September 13, 2026

We are pleased to present our first solo exhibition of Sadamitsu Sugimoto in two years. This exhibition will focus on chawan, which he has been reconsidering in recent years from a new perspective. The chawan of Chōjirō were created through his collaboration with Sen no Rikyū. Looking at these chawan anew, Sugimoto came to realize that their dimensions are close to those of what we now call kofuku chawan, or small chawan. He considers this observation important in tracing Rikyū’s ideas and has been creating chawan with this thought in mind. We warmly encourage you to hear more about his thinking directly from the artist at the gallery. Of course, the exhibition is not limited to chawan. Sugimoto will also present a rich selection of flower vessels, sake ware, and tableware in a wide range of techniques, including three types of celadon that he has been exploring recently. Whether Raku, Oribe, or celadon, a quality shared by Sugimoto’s work is its restraint: never overly decorative, it carries a quiet sense of sabi. We hope that paying attention to this aspect will offer another way to appreciate his work. Sugimoto will be present at the gallery through Wednesday. We warmly invite you to visit the exhibition. *Please note that the works featured in this digital catalogue represent only a selection of the works included in the exhibition. Reservations for works featured in the catalogue will be accepted until two days before the exhibition opens. If we receive multiple reservation requests for the same work, the purchaser will be selected by lottery. We will inform you on the day before the exhibition opens whether a lottery is necessary and, if so, of the result. Around the middle of the exhibition period, works from the exhibition will also be made available on our online shop. You can access the online shop through the announcement on our homepage or via the URL provided below. We hope you will enjoy exploring the works there as well. Recorded Gallery Talk

HELP! “Eternal Car of the Fire” ―10th Anniversary Live Partyー

May 17, 2025 - May 17, 2025

In January 2025, our gallery celebrated its 10th anniversary. We are deeply grateful to everyone whose warm support has made these ten years possible. To mark the occasion, on May 18 we will hold a dinner gathering featuring a live performance by a band we formed together with four artists who have long been associated with our gallery.At the same time, we will also hold an exhibition featuring works by the band members. Since this is a special occasion, each artist will present a selection of works inspired in some way by the band. Their approaches vary greatly, ranging from extremely direct expressions to rather enigmatic ones. It is fascinating to see how each artist’s personality comes to the surface when they are all working from the same theme.We will also exhibit yobitsugi works created as a by-product of the kintsugi repair work carried out at our gallery.All of the artists are scheduled to be at the gallery on the opening day, so we expect it to be a lively occasion. We look forward to welcoming you!

Hideki Yanashita solo exhibition

November 18, 2023 - November 26, 2023

Almost every year, the character of each of Yanashita’s styles seems to change—and this year is no exception.The direction may differ from one year to the next, but his Imayaki-guro has developed an even more weathered character while somehow retaining an almost oily richness. To my eyes, it now possesses even more strongly the qualities that I find appealing in ceramics, regardless of style or tradition.His Ido, meanwhile, seems to have gained a greater sense of unity among its various elements—the crazing, pinholes, and texture of the glaze all coming together more naturally as a whole. And while the quality of his craftsmanship remains as strong as ever, a playful element has been skillfully introduced into the forms themselves.The red tea bowl featured in this catalogue is particularly charming. Its form brings to mind a persimmon that looks just a little firmer and more substantial than Kōetsu’s famous Jukushi (“Ripe Persimmon”). There is something so endearing about its round, plump form that it makes you want to roll it around in your hands.This year, Yanashita also plans to present a substantial selection of Shino.His Shino has relatively little translucency, with a crisp, dense surface texture. Rich hiiro fire color is complemented by slightly purplish iron painting, adding a certain sensuality to the work. The result has a presence quite unlike anything else in Yanashita’s body of work.The exhibition will also feature a wide range of Iga, Shigaraki, Oribe, and other works.We very much hope you will come and see the exhibition!

Hideki Yanashita solo exhibition

November 23, 2024 - December 1, 2024

Once again this year, we are pleased to present a solo exhibition by Hideki Yanashita.Yanashita creates many utsushi works, particularly those based on Chojiro and Koetsu. Although utsushi can be described as copying, it is far more than simple imitation. By repeatedly retracing a form and contemplating the ideas of its original maker, the artist deepens his understanding and then uses that established style to express his own interpretation. It is a matter of deciding what to see in the original and what to give form to, making utsushi not an act of imitation but an independent expression of thought. Another fascinating aspect of utsushi is that, because it is created within an established stylistic framework, maker and user can share a common understanding of the tradition behind it. Keeping this in mind while looking at Yanashita’s work may offer yet another way to enjoy it.As many of you know, he also creates a great number of works that are not utsushi. This exhibition will once again feature tea ware, flower vessels, sake ware, and tableware across a broad range of ceramic traditions and techniques, including Raku, Iga, Shigaraki, Korean-style ware, and Mino ware. We warmly invite you to visit!

Hideki Yanashita solo exhibition

November 15, 2025 - November 23, 2025

Once again this year, we are pleased to present a solo exhibition by Hideki Yanashita.Recently, I have felt that the balance between stillness and movement in Yanashita’s work has been shifting more toward movement, and this time the change can be seen quite clearly. Stronger fluting, even unexpected touches of colour! It seems to incorporate something of the spirit of Oribe, yet at the same time there is something distinctly Showa about it that feels nostalgic. Living today, we cannot truly feel nostalgia for the Momoyama or Edo periods, but the Showa era is close enough for us to do so. I do not know whether Yanashita himself sees it this way, but the works offer a new kind of emotional experience. Perhaps this is one of his explorations of the idea he often speaks of: constancy and change.At the same time, the thoroughly Momoyama character that forms the foundation of Yanashita’s work remains very much alive. When the movement changes, the stillness inevitably changes with it. We hope you will pay particular attention to this aspect as well.

Yasumoto Kajihara /aiko Watanabe exhibition

December 3, 2022 - December 11, 2022

We are delighted to present a two-person exhibition by Yasumoto Kajihara and Aiko Watanabe.And I am very, very happy about it.The two artists work with quite different ceramic techniques, yet I feel there is a strong connection between them.Whatever form they create, it somehow feels natural.You may well ask, “What exactly is a natural form?” Here, I mean forms that seem to follow the same underlying principles found in things that emerge naturally—flowers, insects, and other forms of life.Natural forms simply feel good. We accept them instinctively, without resistance, and above all, we find them beautiful.I believe both Kajihara and Watanabe possess this sensibility: the ability to give clay a natural form suited both to its intended use and to the particular character of the ceramic material, and then to bring that form through the firing.In planning this exhibition, we considered asking the two artists to do something outside their usual practice, such as exchanging clay and working with each other’s materials. In the end, however, we came to the conclusion that the most interesting thing of all would simply be to see their usual work together, at the same time, in the same space.I would like to use this opportunity to explore for myself the true nature of the natural beauty that I sense in the work of both artists.There is a certain amount of personal curiosity involved here, of course—but I promise I will do some work as well.The exhibition will feature an outstanding selection of tea wares, flower vessels, sake wares, and tableware.We very much hope you will come and see the exhibition.

Katsunori Sawa solo exhibition

November 3, 2023 - November 12, 2023

This year, we are once again delighted to present a solo exhibition by Katsunori Sawa.There may be no dramatic changes at first glance, but each year I can clearly sense a steady refinement in his technique and expression—from the crispness of his forms to the movement and confidence of his brushwork.The appeal of Sawa’s work can be found in details throughout: the treatment of the foot and rim, the marks left by his carving tools, the movement of the brush in his painted decoration, and the way the glaze is applied. It is precisely these subtle techniques and observations that support his more strongly designed works, such as Oribe and yobitsugi.The exhibition will center on his Shigaraki, as vivid and expressive from the firing as ever, and his unmistakable Oribe—works that anyone familiar with Sawa could recognize as his at a glance. We will also present his yobitsugi pieces, which have now become a signature part of his work and continue to grow in popularity.We very much hope you will come and see the exhibition.

Katsunori Sawa solo exhibition

August 23, 2024 - September 1, 2024

We are pleased to present our tenth solo exhibition by Katsunori Sawa.Sawa’s Shigaraki continues to evolve, but as this marks our tenth exhibition with him, let us take a moment to revisit what Shigaraki ware is. Shigaraki is made from clay found in the geological formation known as the Ancient Lake Biwa layer. Lake Biwa itself originated around four million years ago in the area around Iga. When this clay is fired in a wood-fired kiln, it develops the distinctive surface effects that characterize Shigaraki. Many different clays are used, but white clay is particularly common. When Shigaraki white clay is fired in an electric kiln, it fires almost pure white. In a wood-fired kiln, however, the flames, firewood, wood ash, and iron contained in the clay create scarlet tones, scorching, and other varied surface effects. Areas that receive a particularly heavy coating of ash develop a green, glassy surface known as natural ash glaze. When I first saw Shigaraki and had this process explained to me, I could hardly believe it. Later, I had the opportunity to witness a firing myself and confirmed that it really was true. I still clearly remember the impact of seeing works emerge from the kiln with surfaces that seemed to have been cut directly from nature, and even now I feel that same sense of wonder whenever I see new pieces.Of course, materials and kiln effects alone do not make a Shigaraki work complete. Form is equally important. Sawa fires his kiln around twelve times a year, and his mastery of firing is remarkable, but this time I was particularly struck by the sharpness and refinement of his forming. It is difficult to put into words, but these qualities reveal themselves in details such as how a piece feels in the hand and the precision of its trimming. When you visit, we hope you will pay particular attention to these details as well.The exhibition will also feature many of his popular yobitsugi works, along with Oribe pieces that show an ever-expanding range of decorative expression. Although they were not completed in time to be included in this catalogue, we have also asked him to create Oribe works depicting notable places from the local area. We warmly invite you to visit ♡

Katsunori Sawa solo exhibition

November 1, 2025 - November 9, 2025

Once again this year, we are pleased to present a solo exhibition by Katsunori Sawa.The exhibition will feature new works in Shigaraki, Oribe, and yobitsugi. Yobitsugi has become one of Sawa’s popular styles, but we are often asked, “What exactly is yobitsugi?” So here is a brief explanation. Yobitsugi is a form of kintsugi, the traditional technique for repairing ceramics. Kintsugi primarily uses urushi lacquer as an adhesive and as a filler for missing areas. It is called kintsugi because gold powder is applied to the surface as a finishing decoration, although the amount of gold actually used is only a tiny part of the repair. Normally, when repairing a damaged area, the original broken pieces are used. In yobitsugi, however, a fragment from another ceramic piece, or sometimes even another material, is fitted into the missing area. In other words, a different fragment is “called in” to complete the piece.Yobitsugi, then, was originally a repair technique. Sawa’s yobitsugi takes this method and incorporates it into the work from the very beginning. It was also a technique favored by his teacher, Goro Suzuki. Recently, Sawa has begun using fragments of works made by his friends, which makes the process even more fascinating. He brings together his own work with fragments made by other artists, people working from entirely different ideas, carefully adjusting the different elements until they become a single whole. I cannot help feeling that Sawa’s own personality plays a part in making this possible. Incidentally, yobitsugi is also regarded as auspicious, symbolizing the bringing together of human connections.Once again, the exhibition will feature tea ware, flower vessels, sake ware, and tableware. We warmly invite you to visit.

Katsunori Sawa: Shigaraki

April 10, 2021 - April 18, 2021

Last year, we asked Katsunori to focus exclusively on Oribe. This year, the focus is Shigaraki, as we present his seventh solo exhibition at our gallery.We work with a particularly large number of artists who make Shigaraki and Iga ware, and each has a character entirely their own. These differences reveal themselves primarily in form, clay, and firing—but if you ask me to put those differences into words, that becomes rather difficult. So please come and see them for yourself.After all, everything we write in exhibition announcements like this is inevitably written from the seller’s point of view. We hope you will take it simply as one piece of information, circumstances and all. (We don’t write anything untrue, of course.) In the end, the best thing is to see the actual works and hold them in your hands.So, come to Asakusa!That said, unless we manage to spark your interest and persuade you to visit, we won’t have much of a business—so allow me to write just a little more.The works in this exhibition are formed from Shigaraki clay and fired in a wood-burning kiln. Even when the forms are similar, the firing creates an extraordinary variety of keshiki—literally “landscapes”—across their surfaces: hiiro (reddish-orange fire color), natural ash glaze, scorched surfaces, ishihaze (stone eruptions), mushikui (“insect-eaten” effects), and more.Some of these effects can be deliberately encouraged to a certain extent; others cannot. Through careful placement and numerous other adjustments, the artist works to create a rich variety of landscapes in the kiln.For example, if a tea bowl is placed face-down inside the kiln and receives a generous covering of natural ash glaze, a distinctive “dragonfly eye” may emerge on its front, as seen in Tea Bowl No. 1, creating an elegant and striking landscape. If a piece is placed where it receives just the right amount of ash during the firing, it may acquire a slightly moss-covered appearance, like Komainu No. 7.There are countless other possibilities. Drawing upon years of experience and knowledge, the artist works with the fire to produce an astonishing range of expressions, even though every piece begins with the same Shigaraki clay.And then there is chance. Sometimes the kiln produces a beautiful landscape that no one could ever have imagined beforehand.By focusing exclusively on Shigaraki for this exhibition, we hope you will be able to look closely at these differences and enjoy the remarkable diversity that can emerge from a single material.Of course, the quality of a work is determined not by the firing alone, but also by its making and its materials. We hope you will also enjoy the forms unique to Katsunori’s approach to Shigaraki, as well as the way each piece feels when held in the hands.

Kazuhiro Fukushima solo exhibition

April 8, 2023 - April 16, 2023

This year, we are once again delighted to present a solo exhibition by Kazuhiro Fukushima.Fukushima’s work is characterized by dramatic kiln transformations and powerful, substantial forms—and this year, it feels as though his work has gained another layer of muscle.I say “muscle,” but behind those wild and untamed kiln effects lies meticulous calculation.His Iga Shino, which he began presenting last year, is fired multiple times with specific results in mind, gradually building up the keshiki—the landscapes that emerge across its surfaces. After being exposed directly to flame and ash in the anagama, the works are refired again and again using different methods and temperatures. Through this process, kiln effects that might otherwise be left largely to nature are transformed into deliberately developed landscapes that belong to the work itself.The relationship between firing and form has also become increasingly refined, and I feel that the direction of Fukushima’s work has come into much sharper focus.The exhibition will feature an outstanding selection of tea wares, flower vessels, sake wares, and tableware.We very much hope you will come and see the exhibition.

Kazuhiro Fukushima solo exhibition

June 22, 2024 - June 30, 2024

Once again this year, we are pleased to present a solo exhibition by Shinya Fukushima.It seems to me that the unity between Fukushima’s thinking and his work grows stronger with each passing year, and this year is no exception. Somehow, even in works I am seeing for the first time, I can sense Fukushima’s character more strongly than in his earlier pieces. I find this fascinating.At the Fukushima family home stands an enormous anagama kiln. This exhibition will focus on Iga and Shino fired in that kiln, alongside Oribe and Fukushima’s distinctive Iga-Shino. Iga-Shino is a body of work he has been developing over the past several years, in which Shino is fired repeatedly in the manner of Iga, producing dramatic kiln transformations. He will also present a separate new group of Shino works with particularly vivid scarlet firing effects.You will also be able to see the enormous kiln-transformed jar pictured on this page. Because a piece of this size is fired close to the firebox, there is a considerable temperature difference between its front and back, making it highly likely to crack during firing. This one, however, emerged from the kiln safely. Amazing!The exhibition will feature tea ware, flower vessels, sake ware, and tableware. We warmly invite you to visit.

Kazuhiro Fukushima solo exhibition

July 19, 2025 - July 27, 2025

Once again this year, we are pleased to present a solo exhibition by Shinya Fukushima.Although Fukushima works in Iga, his practice is by no means limited to Iga ware. In this exhibition, Oribe and Shino are among the other traditions he explores, yet they are infused with ideas that could only come from someone rooted in Iga. There is ash-covered Shino, his distinctive Iga-Shino technique that pushes this approach to an extreme, and something we are seeing for the first time: Oribe Kairagi-de... Oh, what on earth is this...?It is said that Momoyama-period Iga was strongly influenced by the guidance of Furuta Oribe. Perhaps this Oribe Kairagi-de is the result of Fukushima—born in that very region and making Iga ware there today—turning that history around and, in a kind of reverse import, bringing an Iga potter’s take on Oribe-style decoration back into Mino. To borrow the language of certain ramen shops, you might call it Oribe with extra Oribe piled on top. This explanation may be getting a little hard to follow, but the work itself is certainly fascinating.Once again, the exhibition will feature an impressive selection of tea ware, flower vessels, sake ware, and tableware. We warmly invite you to visit.

Kazuhiro Kanda & Yu Sugimoto exhibition

March 2, 2024 - March 10, 2024

After taking a break last year, Kanda returns this year for a two-person exhibition with Sugimoto.To reintroduce Kanda, his work centers on calligraphy and carved lettering, and he also creates artists’ seals for many of the artists familiar to visitors of our gallery, as well as signs for Japanese restaurants and other establishments. Both our gallery seal shown in this catalogue and the sign hanging outside our gallery are works by Kanda ♡My own knowledge of calligraphy and carved lettering goes little beyond seeing them in museums, but I have never encountered anyone other than Kanda who incorporates ceramics into this kind of work. Working with materials of completely different qualities presents technical challenges in areas such as forming, as well as the difficulty of creating harmony between different materials, yet he handles these challenges beautifully and transforms them into finished works of art. Carved lettering tends to have a strong sense of tension that seems to sharpen the atmosphere around it, but when ceramics are incorporated, the feeling somehow becomes softer and more relaxed. It is quite mysterious.I believe Kanda’s great love of ceramics, fishing, and cooking also has a significant influence on his work. Sugimoto, meanwhile, will mainly present Shigaraki and kohiki works, although the latter are not pictured here, along with new pieces using straw-ash and wood-ash glazes. He had apparently been aiming for a completely different atmosphere with these new ash-glazed works, but the result is pottery with an elegant kiln transformation that seems as though it could belong to Takatori ware, yet somehow does not. For Sugimoto, whose work has centered largely on the strongly rustic character of Shigaraki, these pieces promise to reveal an enjoyable new side of his practice.The exhibition will bring together carved-lettering works in a variety of sizes, alongside tea ware, flower vessels, sake ware, and tableware. We feel that the works of these two artists complement each other exceptionally well. We hope you will come and see them for yourself.

Kazuo Toyomasu solo exhibition

February 18, 2023 - February 26, 2023

We are delighted to present a solo exhibition by Kazuo Toyomasu.Toyomasu works primarily with sometsuke—blue-and-white porcelain—a style relatively uncommon among the artists represented by our gallery. His ceramics are deeply rooted in the classical traditions of China and Korea.Sometsuke often brings to mind the elegance of vivid cobalt-blue decoration against a pure white porcelain body. Toyomasu’s work, however, possesses a quieter, weathered character that gives his vessels a remarkable sense of calm.Even highly intentional decorative elements, such as painting and carving, blend naturally into the individual surfaces and forms of his vessels, never seeming forced or separate from the work itself. Perhaps it is this quality that creates such a sense of harmony.Through an exquisite balance of color, texture, and visual depth, the surfaces themselves acquire a beauty that can captivate even those of us who are usually drawn to the earthy character of stoneware and earthenware.We very much hope you will come and see the exhibition.

Kazuyoshi Kitamura solo exhibition

July 4, 2026 - July 12, 2026

We are delighted to present our first solo exhibition by Kazuyoshi Kitamura. This is also the first time we have had the opportunity to work with an artist from Kutani. We’re a little excited—and a little nervous! His work brings together meticulously painted, tautly composed classical repeating patterns and animals that seem to be living life with boundless joy. The overglaze decoration, executed using traditional Kutani techniques, has a wonderfully fresh and exhilarating beauty, while the cheerful animals inhabiting his bold, Rinpa-inspired compositions naturally bring a smile to the viewer’s face. I turned 45 this year, and yet these works still make my heart skip a beat. This is what I call kyun-bi—the beauty that makes your heart flutter. Of course, the works are delightful enough to enjoy in a state of pure excitement, but they also reward slow and careful looking. Hold one in your hands and examine it closely, and you begin to discover the remarkable precision of Kitamura’s brushwork, the subtle qualities of his overglaze enamels, his sense of color, and the many ingenious details that make his designs unmistakably his own. Both his imagination and the technical skill with which he brings it to life are truly remarkable. The exhibition will feature an ambitious selection of works, including tea wares, ceramic panels, sculptures, flower vessels, sake wares, and tableware. We very much hope you will come and see the exhibition.

Keiko Namiyosegama and Tomoko Yanashita exhibition

September 30, 2023 - October 8, 2023

We are delighted to present a two-person exhibition by Keiko Namiyosegama and Tomoko Yanashita.Some of you may already be familiar with Namiyosegama’s work through our permanent displays, and with Yanashita’s through previous special exhibitions and our permanent collection. This time, however, we will be presenting a substantial selection of works by both artists.Namiyosegama works in Namiyose, Fukui, where she fires Echizen ware using one climbing kiln and two anagama kilns. She carefully selects from a variety of local Echizen clays and varies not only her firing methods but even the types of wood used as fuel, exploring the different colors and expressions that can emerge in the natural ash glaze.The resulting surfaces range from vivid jade greens to earthy reddish-browns that seem almost to carry the scent of the soil itself. Another striking feature is the brilliant kamashizuku—drops of natural glaze formed in the intense heat of the kiln. I am also particularly fond of her simple, unpretentious forms, which allow the character of the clay and the dramatic kiln transformations to take center stage.Yanashita, meanwhile, works primarily with vividly expressive techniques including Kōchi, Raku, white porcelain, and Oribe. Her meticulous craftsmanship is complemented by highly imaginative and finely executed decorative details.She is also particularly skilled in ceramic sculpture. Even her smallest figures are filled with expression, and together with the inherent qualities of the ceramic materials, they possess a fascination and beauty that could only belong to sculpture made from clay.This sensitivity extends even to the smallest details of her simpler vessels, helping to create the gentle, warm atmosphere that characterizes her work.The two artists work with completely different techniques, yet when their pieces are placed together, they seem to bring out the best in one another. I believe they make a wonderful pairing.The exhibition will feature a generous selection of outstanding works by both artists.We very much hope you will come and see the exhibition!

Kiko Ando solo exhibition

June 1, 2024 - June 9, 2024

We are pleased to present our first solo exhibition by Kiko Ando. His given name is rather unusual and is pronounced “Kiko.” He was born in Yokohama.Working within the tradition of Bizen, where expression is created through unglazed high-fired ceramics, Ando makes pottery that feels particularly well suited to the needs of contemporary life. Rather than asserting an overwhelming individuality, his personality seems to be subtly scattered throughout forms made with the user in mind. This does not mean that his work is merely safe or conventional. These are unmistakably the works of Kiko Ando, combining sincere craftsmanship with surfaces shaped by his own identity as a Bizen potter. Although we were unable to include them in this announcement, he also creates playful works, including a tea basket and travelling tea bowl set made in collaboration with a bamboo craftsman.The exhibition will feature a generous selection of tea ware, flower vessels, sake ware, and tableware, with captivating kiln effects ranging from vivid scarlet to deep, substantial black. We warmly invite you to visit!

Makoto Hashimoto solo exhibition

September 2, 2023 - September 10, 2023

We are delighted to present Hashimoto’s first solo exhibition with us in two years.Hashimoto was born in Kobe in 1943. He originally worked as a painter before turning to ceramics at the age of 27, and today he works in Nikko.As I mentioned in the introduction to his previous exhibition, Hashimoto has studied views of nature, religion, philosophy, and their histories, and through this has developed a systematic philosophy of his own toward ceramics. Listening to him speak about these subjects is always fascinating and an absolute pleasure.Hashimoto’s work consists primarily of unglazed, high-fired ware. Alongside Iga and Shigaraki, he also creates an original body of work that he calls Myōjin.For Myōjin, Hashimoto applies a slip containing iron and other metals, then fires the work without glaze, producing a distinctive blue-black surface. The pieces are fired for six days in a wood-fired kiln of his own unique design. During this long firing, they receive a generous covering of ash, creating dramatic kiln transformations that interact beautifully with the blue-black surface.His glazed works, including those using iron glaze, also display remarkable firing effects. But another defining feature of Hashimoto’s ceramics is the strength of their design.His forms range from soft, almost feminine curves to rugged, untamed shapes that seem as though they have been cut directly from nature. Perhaps something of his years as a painter remains within them, as each possesses a beautiful sense of balance. At the same time, these forms are the result of countless subtle decisions that make full use of the remarkable plasticity of clay.Once again, the exhibition will feature an outstanding selection of tea wares, flower vessels, sake wares, and tableware.We hope you will come and discover Hashimoto’s distinctive approach to unglazed, high-fired ceramics.

Makoto Yamaguchi solo exhibition

January 3, 2024 - January 11, 2024

For our first exhibition of 2024, we are pleased to present a solo exhibition by Makoto Yamaguchi.We have long known that Yamaguchi possesses the imagination to conceive works of highly refined design and immediately recognizable beauty, with the depth of texture and form that ceramics can offer—as well as the skill to bring those ideas to life and the perseverance required for painstaking work. But the level of his work has continued to rise at a remarkable pace, and he has now become an artist capable of producing pieces that are almost frightening in their quality.One quality that can be found consistently throughout his work is the beauty of its balance and construction. Even a simple form can leave a completely different impression depending on such details as the distribution of thickness and the treatment of the rim. Whether a form is bold or simple, the secret of its beauty lies in the details. We hope you will pay particular attention to these aspects as well.The exhibition will focus on his popular Oribe, Ofuke, and Shino works, along with a new style of Aka-Shino that he has recently introduced. Although they were not completed in time to be photographed for the exhibition invitation, he will also present works from his Oribe Rinpa series incorporating Sotatsu’s White Elephant painting.We warmly invite you to visit the exhibition.

Masafumi Ohnishi solo exhibition

June 21, 2025 - June 29, 2025

We are pleased to present a solo exhibition by Masafumi Onishi for the first time in two years.Onishi may be best known for works with strongly dynamic forms and dramatic kiln transformations created by heavy deposits of ash, but his more classical works are also truly wonderful. Pieces coated entirely in a red slip known as aka-dobe and fired in a jagama—a single-chamber wood-fired kiln in which the entire kiln functions like a chimney—develop a deep, subdued yet lustrous red. Their wonderfully tactile surfaces almost make you want to keep running your hands over them.Aka-dobe originally developed from the practice of applying a clay slip that served somewhat like a glaze to help prevent water from leaking through unglazed vessels. Fascinated by its beauty, Onishi has studied the aka-dobe of old Tamba ware, seeking not only to recreate it but to surpass it, and his works already possess more than enough beauty of their own. With wood-fired ceramics such as Iga, Shigaraki, and Bizen, the side covered in ash and displaying the most dramatic kiln effects is often presented as the front. However, Onishi specified the opposite orientation for the works delivered for this exhibition. The back of the flower vessel shown here is richly covered in natural ash glaze and displays intense kiln transformations, yet he chose the other side as its front. Is this a sign of Onishi’s obsession with aka-dobe—or his confidence in it?Once again, the exhibition will feature a generous selection of new tea ware, flower vessels, sake ware, and tableware. We warmly invite you to visit ♡

Masafumi Onishi solo exhibition

December 9, 2023 - December 12, 2023

We are pleased to present a solo exhibition by Masafumi Onishi. This will be the first time in quite a while that we have had the opportunity to show his work, since our three-artist Tamba exhibition held at the gallery in 2016.Onishi’s work ranges widely, from pieces characteristic of Tamba ware, made with iron-rich clay and fired unglazed in a wood-fired kiln known as a jagama, to works featuring distinctive glazes in striking primary colours. One of the defining qualities of his work is the breadth of his approach not only to surface effects, but also to form. He employs a variety of firing methods, but one particularly interesting technique is the use of bamboo as part of the kiln fuel. Compared with other plants commonly used as firewood, bamboo contains a high level of silica, producing a rich, milky natural ash glaze. The combination of a bright red slip with the effects created by bamboo results in Onishi’s distinctive red-and-white unglazed surfaces, bringing new possibilities to yakishime ware.Rather than novelty born simply from an idea or an attempt to be different, his innovations emerge from careful study of materials, discoveries gained through experience, and refined technique. It is this foundation that gives his work a depth of character and, I believe, the potential to be cherished for many years.This exhibition brings together a wide selection of Onishi’s tea ware, flower vessels, sake ware, and tableware. We warmly invite you to visit and see the exhibition.

Masatoshi Shimizu solo exhibition

May 18, 2024 - May 26, 2024

We are pleased to present a solo exhibition by Masatoshi for the first time in two years.Masatoshi works across a wide range of ceramics, including unglazed high-fired ware, porcelain, and glazed pieces, all fired in a single-chamber wood-fired kiln known as a jagama. One of the great attractions of his work is undoubtedly the kiln transformations. His unglazed pieces are beautiful, but his glazed works are somewhat unusual. The kiln effects produced by minerals that create strong colours, such as copper red and turquoise blue, are particularly striking. Each glaze, however, has its own ideal firing temperature, which makes the process difficult. If the temperature is too low, the glaze will not melt; if it is too high, the minerals responsible for the colour can vaporize, leaving the glaze transparent. These materials may be difficult to control, but there are surface effects that can only be achieved through the rapid heating and cooling characteristic of the jagama.Masatoshi recently carried out extensive repairs to this kiln. There are no architectural plans to follow, and even when it is rebuilt as closely as possible to its previous form, some changes inevitably occur. The character of the kiln itself changes as well. For this exhibition, half of the works were fired in the first firing after the repairs, while the other half were fired in the kiln before it was repaired. We hope you will enjoy discovering the differences between them when you visit the exhibition.

Masayasu Chujo solo exhibition

March 18, 2023 - March 26, 2023

We are delighted to present a solo exhibition by Masayasu Chujo.Chujo’s work centers primarily on utsushi of Kenzan ware—works created through close study and reinterpretation of the ceramics of Ogata Kenzan.When we think of Kenzan ware, our attention is often drawn first to its designs, elaborate forms, and painted decoration. But the textures and surfaces of Chujo’s works are equally remarkable.He carefully selects his raw materials, but one particularly interesting aspect of his process is his use of an electric kiln into which wood can also be introduced during firing. According to Chujo, firing with electric heat alone can give the work a slightly cold quality, while adding wood brings a sense of warmth and richness to the finished surface.His work reminds us once again that a truly fine vessel is born from the harmony of design, craftsmanship, and surface character.There is also considerable ingenuity in his designs.The work shown on the right side of the catalogue cover, Kiku Mukōzuke (Chrysanthemum Dish), is an utsushi of a Kenzan work. The piece on the left, however, is a new design called Shikunshi (The Four Gentlemen), made using the same mold as Kiku Mukōzuke but with different painted decoration.While chrysanthemum motifs are strongly associated with a particular season, Shikunshi can be used throughout the year and also lends itself beautifully to celebratory occasions.This is only one example, but it shows how Chujo is able to take the classics as his foundation while creating new directions of his own.The exhibition will focus primarily on tableware, alongside tea wares, flower vessels, and sake wares.We very much hope you will come and see the exhibition.

Masayasu Chujo solo exhibition

March 16, 2024 - March 24, 2024

Once again this year, we are pleased to present a solo exhibition by Chujo. It is the time of year when our gallery becomes its most colourful and vibrant.As I also mentioned in last year’s exhibition announcement, the appeal of Chujo’s Kenzan-style work lies not only in its designs and craftsmanship, but also in the richness of its textures. His work captures a variety of seasons and landscapes and explores how they can be expressed through ceramics, so the tactile and visual qualities of the ceramic surface itself are extremely important. With this in mind, I was especially pleased to see one of my personal favourites, the cylindrical mukozuke with iron-painted decoration ①. It is coated with the same type of white slip used for kohiki ware, producing gohon—soft, hazy areas of reddish pink—and it also develops an aged character relatively easily with use, making it particularly rewarding to watch it change over time. It can also be used as a yunomi, allowing it to be enjoyed in several different ways.Another highlight is Chujo’s own original designs created using Kenzan techniques, such as the Four Gentlemen chopstick rests featured in this catalogue.The exhibition will focus primarily on tableware, along with tea ware, flower vessels, and sake ware. We warmly invite you to visit.

Masayasu Chujo solo exhibition

August 23, 2025 - August 31, 2025

Once again this year, we are pleased to present a solo exhibition by Masayasu Chujo. The exhibition will focus on his utsushi works based on Kenzan, as well as pieces featuring his own original designs developed from that tradition.As our gallery works with relatively few artists who use figurative painting, with work like Chujo’s it is easy to become captivated by the painting and intricate decoration. However, we would also encourage you to pay close attention to the surface qualities of the pieces. Even subtle differences in the surface, the glaze, or the colour of the iron painting can dramatically change the overall impression. From the careful selection of materials to thoughtful adjustments in firing methods, attention to detail can be found throughout his process. No matter how elaborate the design becomes, the essential qualities of the work as ceramics are never left behind. At the risk of repeating ourselves, beauty is maintained through the balance between material quality and form.Although they were not completed in time to appear in our direct mail announcement, the exhibition will also feature new designs, including guinomi that incorporate decorative motifs from celebrated historical masterpieces. We warmly invite you to visit!

Masayasu Chujo solo exhibition

August 22, 2026 - August 30, 2026

We are pleased to present another solo exhibition by Nakajo this year. Once again, he will be exhibiting works inspired by Ogata Kenzan, including faithful reinterpretations of Kenzan's masterpieces as well as new creations that employ the techniques associated with his work.We often hear the term utsushi, but what does it really mean? By recreating the masterpieces of the past, an artist deepens their understanding of the original work—its techniques, spirit, and aesthetic principles. Yet an utsushi is not simply a reproduction. Working within an established tradition, the artist imbues the piece with their own sensibility and expression, while the viewer is invited to discover the artist's interpretation and individuality through the work. This is what distinguishes an utsushi from a mere copy.We hope that keeping this perspective in mind will make your experience of the exhibition even more rewarding. The exhibition will feature a generous selection of tableware that captures the beauty and atmosphere of the changing seasons. We warmly invite you to visit. *Please note that the works featured in this digital catalogue represent only a selection of the works included in the exhibition. Reservations for works featured in the catalogue will be accepted until two days before the exhibition opens. If we receive multiple reservation requests for the same work, the purchaser will be selected by lottery. We will inform you on the day before the exhibition opens whether a lottery is necessary and, if so, of the result. Around the middle of the exhibition period, works from the exhibition will also be made available on our online shop. You can access the online shop through the announcement on our homepage or via the URL provided below. We hope you will enjoy exploring the works there as well.

Noriyuki Furutani solo exhibition

April 22, 2023 - April 30, 2023

We are delighted to present a solo exhibition by Noriyuki Furutani—the first artist specializing in Tenmoku ware to exhibit at our gallery!Contemporary Tenmoku often brings to mind carefully formulated materials and firing processes controlled with extreme precision. Furutani’s approach, however, is somewhat different.Not all of his works are made this way, but many are fired in an anagama, a wood-fired kiln whose conditions are inherently unpredictable. The pieces are placed inside saya—protective containers that shield them from direct flame and ash—so the influence of the wood fire may be somewhat reduced. Even so, Furutani says that changing the fuel inevitably changes the way the pieces emerge from the firing.Despite choosing a process so strongly influenced by natural and unpredictable forces, Furutani is exceptionally strict when selecting his finished works. Whenever I visit his kiln, I find piles of rejected pieces that look perfectly beautiful to my eyes.From this demanding process, the works that ultimately meet Furutani’s own standards possess something remarkable: within their crisp, dignified forms, they seem to contain the beauty of nature itself.To me, they represent something close to an ideal form of ceramics.The exhibition will feature a wide variety of works, including not only pieces fired in the anagama but also works created using Furutani’s own distinctive technique, which he calls Tōgin Tenmoku.We very much hope you will come and see the exhibition.

Noriyuki Furutani solo exhibition

September 6, 2025 - September 14, 2025

We are pleased to present our first solo exhibition by Noriyuki Furutani in two years. Once again, the exhibition will feature classical Tenmoku styles such as Oil Spot, Hare’s Fur, and Tori-san, alongside his original Momo-gin Tenmoku technique.Tenmoku tea bowls handed down from the past have been subjected to compositional analysis using modern scientific technology. Based on those results, artists formulate their raw materials and repeatedly test their firing methods in an effort to approach their ideal. We are told that most Tenmoku potters use gas or electric kilns, which are relatively easy to control and allow the firing to proceed according to plan. The basic approach is one of meticulous calculation and carefully controlling the process toward an intended result.Within this world of Tenmoku, however, Furutani fires his work in an anagama. Why? Because there is something in the flames of a wood-fired kiln that lies beyond human knowledge and control, and he believes that this unknowable element is an essential part of what makes the work what it is. I love this way of thinking. In pursuit of drawing real beauty out of that sense of romance, Furutani continues to engage with the anagama through constant trial and error, creating the beautiful Tenmoku that is uniquely his own.

Raku Yunomi exhibition

August 12, 2023 - August 20, 2023

Raku.Developed by Chōjirō under the direction of Sen no Rikyū, Raku has traditionally been used primarily for utensils associated with the Japanese tea ceremony. Today, Raku sake vessels and other forms are also commonly seen.But this time, we are focusing on yunomi—everyday teacups.The soft, gentle character of Raku seems perfectly suited to a cup of sencha enjoyed slowly during the colder months ahead.Raku yunomi: something that feels as though it should have always existed, and yet is surprisingly hard to find.For this exhibition, we have asked a group of artists familiar to our gallery to create their own Raku yunomi.We very much hope you will come and see them.

Reiji Omori solo exhibition

January 3, 2026 - January 11, 2026

For our first exhibition of 2026, we are pleased to present a solo exhibition by Reiji Omori. Once again, he is going all out. Of course, that is my own way of seeing it, but while Bizen and Shino may each have certain definitions, they are ultimately concepts. They are complex things that cannot be contained within simple x, y, and z axes, yet somehow Omori, who is after all a person entirely separate from myself, keeps hitting exactly what I consider the ultimate mark.His Bizen possesses weight within thinness. His Shino includes both the new styles first presented in July 2025 and further refinements of classical Shino forms. There is Setoguro with a crisp, unwavering sense of purpose, and Oribe in refined forms enlivened by kiln transformations. Alongside tea ware, flower vessels, and sake ware, this time we also asked him to devote particular attention to tableware such as mukozuke. Omori’s ideas are packed densely and richly into a broth steeped in the Momoyama tradition. We warmly invite you to come and see the exhibition!

Reiji Omori solo mini exhibition

July 5, 2025 - July 13, 2025

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.

Ryoko Suzuki solo exhibition

October 12, 2024 - October 20, 2024

We are delighted to present our very first solo exhibition by Ryoko Suzuki. Hooray!Among the artists we work with, Suzuki is unusual in that she specializes exclusively in porcelain. Unlike stoneware, her work does not aim for dramatic kiln transformations, and as you can see, it is based around a translucent white. And yet! Its surfaces are filled with all the fascinating qualities that make ceramics so compelling. Just as with stoneware, these qualities are the result of extensive research and experimentation with clay, glazes, pigments for painted decoration, and firing. One might describe it as painted porcelain created with an awareness of extremely subtle kiln transformations. Wonderful!Her designs are rooted in ancient Chinese ceramics, into which she blends an atmosphere entirely her own. With brushwork that is both delicate and full of movement, her pieces offer not only beauty but also a variety of stories.There is a powerful beauty created through the interaction of form, surface, and painting. We warmly invite you to come and see the exhibition for yourself ♡

Ryoko Suzuki solo exhibition

October 4, 2025 - October 12, 2025

We are pleased to present our second solo exhibition by Ryoko Suzuki. Unusually for an artist specializing in painted porcelain, Suzuki handles every stage of the process herself, from selecting the raw materials to design, forming, painting, glazing, and firing.The beauty of her painting and forms is immediately apparent, but her distinctive character can also be found in the beauty of the surfaces themselves. Whether earthenware or porcelain, ceramics are defined in no small part by their surfaces, which form an essential element of the work. We hope you will pay close attention to this aspect as well.And yet, it is difficult not to be captivated by the designs. The crisp, taut forms and delicate painting and carving come together in perfect harmony, while their affinity with delicately prepared cuisine is another of their great attractions. With tea bowls and sake vessels that are held in the hand and brought to the lips, the beauty of their texture can be appreciated all the more directly.Once again, the exhibition will feature an impressive selection of tea ware, flower vessels, sake ware, and tableware. We warmly invite you to visit.

Shintaro Uchimura solo exhibition

May 27, 2023 - June 4, 2023

This year, Uchimura is once again coming to Hatchobori with a new body of work. Hooray!Uchimura works primarily with techniques rooted in Korean and Karatsu ceramic traditions, and each of his works possesses a deep understanding of the particular aesthetic language of those traditions.This is surely something that comes from exploring each style in depth, studying the classics, and continuing to create through that understanding. But identifying how that beauty works, giving it form with one’s own hands, and then taking it to a level capable of genuinely moving the viewer is no easy feat.We talk about “the classics” again and again, but works that have survived and continued to be loved through the long, long filter of time must surely contain a particularly concentrated form of beauty. Uchimura’s ceramics remind me of the importance of asking ourselves not simply whether something is beautiful, but why it is beautiful.And within the pleasure of these established aesthetic traditions, there is also the individuality of the artist.Uchimura’s own character can be found throughout his work, but what I particularly love is the fullness and richness of his surfaces. (And no, that is not because he works in Fukuoka.)A glaze may be no thicker than a sheet of paper, yet somehow it possesses an extraordinary sense of depth. The surfaces contain a remarkable range of colors and feel wonderful in the hand.Wonderful indeed.The exhibition will feature an outstanding selection of tea wares, flower vessels, sake wares, and tableware. This time, there will also be new works made using kurinuki, a technique in which forms are carved directly from a solid mass of clay.We very much hope you will come and see the exhibition!

Shintaro Uchimura solo exhibition

January 25, 2025 - February 2, 2025

We are pleased to present a solo exhibition by Shintaro Uchimura.Uchimura recently built a tea room at his home, and as one might expect, it is wonderful. There is sunken seating reminiscent of a horigotatsu, a window that beautifully frames the stream and scenery just outside, and a perfectly balanced use of space. His own approach to hospitality and the ways in which he makes the most of his fortunate surroundings are incorporated into the room with remarkable naturalness. Needless to say, it is an exceptionally comfortable place to be, and simply spending time there is exciting. He has taken the conditions and environment already present, considered them through the lens of his own ideas, and imagined and created a space capable of genuinely moving those who experience it.This exhibition will once again focus on tea ceramics, accompanied by a generous selection of sake ware as well as vessels for food. We are already excited to see them. We warmly invite you to visit!

Shinya Fukushima solo exhibition

December 14, 2024 - December 22, 2024

We are pleased to present our first solo exhibition by Shinya Fukushima!Shinya is the younger brother of Kazuhiro Fukushima, an artist already familiar to visitors of our gallery. Like his brother, he works in Iga, but naturally has a style entirely his own. While fully embracing the characteristic beauty of Iga ware created through firing in wood-fired kilns such as anagama, his work also reveals a light and playful spirit. This can be seen in his adaptations of traditional Iga decorative techniques using impressed molds, as well as in the wide variety of forms he explores. His new designs are developed from a firm understanding of the classics, giving them a strong sense of conviction at their core.Alongside Iga, the exhibition will feature Oribe and other works, including tea ware, flower vessels, sake ware, and tableware. We warmly invite you to visit!

Shinya Fukushima solo exhibition

December 13, 2025 - December 21, 2025

Once again this year, we are pleased to present a solo exhibition by Shinya Fukushima. Focusing on the Iga ware for which he is best known, this exhibition will feature a variety of works with particularly inventive forms. There will be flower vessels that playfully condense and reinterpret famous historical Iga masterpieces, pouring vessels with figurative designs, and larger works that make the most of the clay and the powerfully rustic effects of the firing.The exhibition will be filled with works that remind us just how fascinating ceramics can be. We warmly invite you to visit!

Shinya Fukushima solo exhibition

July 18, 2026 - July 26, 2026

This year, we are once again delighted to present a solo exhibition by Shinya Fukushima.Fukushima creates highly distinctive forms, ranging from figurative to abstract, and brings them to life with the rich surfaces and firing effects of Iga and Oribe ware. Inspired by his unique approach to form, we asked him to create a large chessboard and a complete set of chess pieces. Unfortunately, they were not completed in time to be featured on the exhibition invitation, but we very much hope you will come and see them in person.In recent years, his approach to form has become increasingly refined and cohesive, allowing his designs to feel more vivid and expressive than ever. At the same time, they seem to have developed an even greater affinity with the distinctive firing effects of the Fukushima family’s Iga ware. His work has also taken on a stronger sense of movement and energy, which we hope you will enjoy discovering in this exhibition.Alongside his Iga and Oribe works, Fukushima will also present celadon pieces for this exhibition.We very much hope you will come and see the exhibition.

Takashi Tanimoto solo exhibition

December 17, 2022 - December 25, 2022

It is not that there is no pleasure in placing two things with such radically different characters side by side, but that is not quite the point. Rather, the idea is to look at Tanimoto’s distinctive forms through the two different lenses of Iga and white porcelain, and perhaps gain some insight into what is going on inside his mind.Looking at the works featured in this catalogue, for example, his tea bowls are built upon an extraordinarily complex sense of balance. Their forms are so finely poised that if any part were shifted by even a single millimeter, the entire thing might fall apart.His plates and bowls are different. Their broad, relaxed forms seem almost to make visible the inherent plasticity of clay, into which Tanimoto introduces sharper, highly intentional gestures to create forms unmistakably his own. Whether Tanimoto himself is conscious of it or not, I sense something in them that connects to Kōetsu.Then there are the guinomi.Perhaps he made them on a day when he had lost his wallet.There is clearly intention behind them, and yet completely alien elements appear to have been attached almost by accident. They belong to an entirely different world from the tea bowls and plates.We asked Tanimoto to work in white porcelain as another way of looking into the mind capable of producing such forms.I have rambled on at some length about form, but his work also possesses a highly distinctive sense of keshiki—the landscapes created across the surfaces. His firing methods are unusual, and the resulting textures have the rustic, untamed character that makes Iga so compelling.Quite simply, the works are deeply attractive as ceramics.And they make me very glad that Tanimoto became a potter.The exhibition will feature tea wares, flower vessels, sake wares, and tableware.We very much hope you will come and see the exhibition.

Takashi Tanimoto solo exhibition

October 13, 2023 - October 22, 2023

This year, we are once again delighted to present a solo exhibition by Tanimoto.The exhibition will feature a substantial selection of his ash-glazed white porcelain, a body of work he has been developing over the past three years. Although they could not be included in this catalogue, he will also be presenting sake vessels and tea bowls in this style.Compared with his Iga and Raku works, the surfaces of the ash-glazed white porcelain are relatively uniform, allowing the fascination and individuality of Tanimoto’s forms to emerge much more clearly. Even the way the glaze is applied reveals something of his thinking about design.There is a lot going on here. And it is all very interesting.Tanimoto also happens to be remarkably popular among fellow ceramic artists—according to our own highly unofficial Tobetobekusa research. I think one reason is the complex yet beautiful sense of balance found in his work.It is not only the forms themselves. The effects of the firing and the character of the surfaces interact beautifully with those forms, ultimately coming together as a single, complete work.I hope you will enjoy discovering how this balance differs across his Iga, Raku, and ash-glazed white porcelain.The work is so convincing, in fact, that it almost makes me wonder whether even Tanimoto’s rather peculiar behavior is somehow governed by an underlying sense of beauty.Perhaps it is.The exhibition will feature tea wares, flower vessels, sake wares, and tableware, including works in Iga and Raku.We very much hope you will come and see the exhibition.

Takashi Tanimoto solo exhibition

September 7, 2024 - September 15, 2024

We are pleased to present our tenth solo exhibition by Takashi Tanimoto. How grateful we are!As you can see, Tanimoto’s Iga, fired under extremely strong reduction, has a distinctive palette with relatively low brightness and saturation. In painting or film, such colours can give a decadent impression, and I feel much the same when I see them in ceramics. This does not, however, mean that Tanimoto is a gloomy, destructive, immoral person secretly plotting the destruction of the Earth. As proof, perhaps, you can find flashes of sparkling natural ash glaze and fresh scarlet tones here and there.These elements interact with one another, setting an entire world in motion within each work. His idiosyncratic forms also succeed as works because their individual parts relate to one another in complex ways while maintaining an overall balance. There is little more uncomfortable than asymmetry without balance, but the world created through Tanimoto’s particular sense of proportion is fascinating and possesses a distinctive kind of comfort.The exhibition will feature new tea ware, flower vessels, sake ware, and tableware. We warmly invite you to visit!

Takashi Tanimoto solo exhibition

September 20, 2025 - September 28, 2025

Once again this year, we are pleased to present a solo exhibition by Takashi Tanimoto.There are no particularly dramatic changes to report, but since last year Tanimoto has begun carving a new style of foot. Among the works shown here, the Iga chawan is an example. It may look like an attached foot, but apparently it is not.Perhaps because of the strong individuality of his firing, his forms, and even his behavior, Tanimoto is often regarded as something of an outsider. Yet he creates deeply classical works imbued with the atmosphere of old Iga, something rarely encountered even among contemporary Iga and Shigaraki potters. At an exhibition of old Iga held at the Gotoh Museum, I even came across a piece that made me think, “That looks like Tanimoto’s work!” He uses old Iga as a means through which to reflect his own thinking in his work, but perhaps Tanimoto’s true individuality—something that ultimately takes him beyond old Iga itself—lies in the naturalness of his forms: multilayered and complex, yet utterly without pretense.Alongside Iga, this exhibition will also feature Raku, a small number of Ido works, and just one Shino piece. The Ido works are apparently made from clay found in Kochi and are completely different from his previous Ido pieces. We warmly invite you to visit!

Tomohiro Matsumoto solo exhibition

July 22, 2023 - July 30, 2023

We are delighted to present Matsumoto’s first solo exhibition with us in two years.This year, Matsumoto’s work is more diverse than ever. He already works across a remarkably broad range of styles, including Shigaraki, Yūka Shigaraki, overglaze red decoration, iron-painted ware, and amber-glazed ware. This time, Oribe and Mishima will be added to the mix. And if everything is ready in time, he also plans to unveil some new glaze works that are still under development.Exciting!!Shigaraki, Oribe, and Mishima are all traditions explored by many ceramic artists, but Matsumoto has a distinctive approach to form, the use of stamped decoration, and the composition of his painted designs. The result is an atmosphere that clearly sets his work apart.There is something both familiar and fresh about it—a perfectly balanced dose of stimulation that makes his work particularly enjoyable.One example of this is Yūka Shigaraki, a technique Matsumoto developed several years ago. First, Shigaraki is fired in an anagama, allowing the characteristic keshiki—the landscapes created by flame and ash—to emerge across its surface. Glaze is then applied to the fired piece, which is fired once again. The result is a curious form of glazed ware in which the dramatic kiln transformations of Shigaraki remain visible beneath and interact with the glaze.As far as I know, Matsumoto is the only artist working with this technique.After all, who would think of taking an already wood-fired, unglazed Shigaraki vessel, covering it with glaze, and firing it all over again!The exhibition will bring together Matsumoto’s latest and most ambitious works.We very much hope you will come and see the exhibition.

Tomohiro Matsumoto solo exhibition

March 1, 2025 - March 9, 2025

We are pleased to present a solo exhibition by Tomohiro Matsumoto. This time, the exhibition will focus primarily on the ash-glazed works he has been exploring recently.Ash glaze is one of the most ancient, diverse, and fascinating types of glaze. The green ash glaze often seen on Iga ware, for example, is composed mainly of pine ash, which contains more iron than many other types of wood and therefore produces a particularly distinct colour. Regardless of the species of wood, even ash glazes made from the same components can develop different colours and characters depending on the firing and cooling methods, as well as the composition of the clay body.The highlight of the ash-glazed works in this exhibition is their vivid, highly transparent pale blue, achieved by firing at high temperature in reduction and then cooling the pieces extremely rapidly. Matsumoto will present works that take advantage of these qualities, particularly pieces featuring relief decoration and flowing cobalt designs.Works with added overglaze red decoration, which we specially asked him to create, are also scheduled to appear during the exhibition. His Shigaraki works, which he has pursued for many years, will be on view as well. This ash glaze seems particularly well suited to Matsumoto’s work, which is characterized by its rich variety of designs. We warmly invite you to visit!

Tomohiro Matsumoto solo exhibition

February 21, 2026 - March 1, 2026

Once again this year, we are pleased to present a solo exhibition by Tomohiro Matsumoto.Since last year, Matsumoto has been presenting works with a highly transparent, strongly blue-toned ash glaze. This time, he has developed it further to create a new Annamese-inspired style called Beni-Annan-de. The red typically seen in Annamese ware is overglaze red decoration, but here the red is produced with underglaze copper red, applied beneath the glaze. This gives the work a lighter, more airy impression than traditional Annamese ware. Some pieces also feature carved patterns, giving us plenty to discover and enjoy!As with this new Beni-Annan-de, Matsumoto has continued to develop new approaches rooted in classical traditions, including his Yuka-Shigaraki, in which wood-fired Shigaraki is glazed and then fired again. These explorations offer a kind of enjoyment quite unlike the work of other artists.Alongside these new works, the exhibition will also feature the ash-glazed and cobalt-decorated ash-glazed pieces that were so well received last time, as well as the Shigaraki ware Matsumoto has pursued for many years. We warmly invite you to visit!

Yasumoto Kajihara & Aiko Watanabe exhibition

June 7, 2025 - June 15, 2025

We are pleased to present our second two-person exhibition by Yasumoto Kajiwara and Aiko Watanabe, their first with us in two and a half years.Although their styles differ, I personally sense a certain affinity between their approaches to form, so for this exhibition we asked the two artists to exchange materials. Iga and Shigaraki differ considerably from Karatsu in the character of their clay, forming methods, and firing techniques. Watanabe joined Kajiwara for a kiln firing, and through exchanging information and experimenting together, they have produced ceramics with a wonderfully distinctive character.What we would particularly like you to notice is how their forms change when they work with materials different from those they normally use. As I wrote in the announcement for their previous exhibition, what I find most appealing in the work of both artists is the naturalness of their forms. Each piece seems to exist within a larger, effortless flow. Yet when the material changes, their perspective must change as well, and this should inevitably appear in the forms they create. Even while remaining within that natural flow, perhaps entirely different forms will emerge. This, in turn, gives us as users a new perspective on the way these two artists approach form. How exciting! Woohoo! And because these are ceramics, the surfaces and textures also play an enormous role in what makes the works so fascinating, so we hope you will enjoy discovering those aspects as well.Once again, the exhibition will feature an impressive selection of tea ware, flower vessels, sake ware, and tableware. We warmly invite you to visit!

Yohsuke Kojima solo exhibition

April 6, 2024 - April 14, 2024

We are pleased to present a solo exhibition by Yosuke Kojima.Although Kojima works across a remarkably wide range of techniques and styles—from Iga, which forms the core of his practice, to Korean-style ware, Karatsu, and gold and silver decoration, including platinum—his expression through form is equally diverse. His skill on the potter’s wheel is remarkable, allowing him to shape works across a seamless spectrum from quiet, restrained forms to those filled with movement.Because gold- and silver-decorated works tend to be covered in a single colour, the strength and beauty of their forms can be seen especially clearly. Personally, I am particularly looking forward to his Iga works. Iga ware may well be the most flamboyant form of unglazed, high-fired pottery in the world, and Kojima creates surfaces and kiln effects that exceed expectations. His pieces seem to capture within them an atmosphere taken directly from nature. Although they are not featured in this catalogue, he also plans to exhibit a large number of flower vessels.The exhibition will feature tea ware, flower vessels, sake ware, and tableware. We warmly invite you to visit.

Yotaro Fujinoki solo exhibition

October 26, 2024 - November 3, 2024

We are pleased to present a solo exhibition by Yotaro Fujinoki.His meticulous attention to detail remains as strong as ever, as does the appeal of the varied firing effects that can be found even on a single tiny plate. These are essential elements of Fujinoki’s work, which combines the rustic vitality of kiln-transformed stoneware with a dignified, refined presence.This year brings a new development in his guitar series: believe it or not, tokkuri! The distinctive features of each guitar have been carefully captured and skilfully incorporated into the designs. The forms look so natural that it is easy to overlook the fact that their gourd-like shape also preserves the unmistakable character of a tokkuri. Amazing!It is also a delight to see details such as the volume knobs and position markers faithfully incorporated. His signature instrument-shaped flower vessels also appear this time in the form of a Stratocaster. Although it cannot be seen in the photograph, each has a removable inner container at the back for arranging flowers. The fact that the flowers are arranged from the back, together with the guitar-shaped form itself, allows entirely different aspects of the flowers to emerge compared with an ordinary flower vessel. This is another fascinating feature of the work.Once again, the exhibition will bring together an impressive selection of tea ware, flower vessels, sake ware, and tableware. We warmly invite you to visit!

Yu Nishioka solo exhibition

January 3, 2023 - January 11, 2023

As our first special exhibition of 2023, we are delighted to present a solo exhibition by Yu Nishioka.In recent years, Nishioka has been energetically exploring new techniques and designs. Works such as Ena-guri, Oribe Shisai, Kokukode, and Mino Sometsuke all build upon classical ceramic techniques, yet the results are both approachable and stimulating—and, above all, simply fun.One of the reasons Nishioka is able to create such new expressions is that he never stops refining the fundamental quality of his ceramics. This exhibition offers an opportunity to take a close look at where Nishioka stands today.He is also planning to present yet another new development: Black Oribe. Unfortunately, these works were not completed in time to be included in the catalogue, but they have turned out beautifully. Nishioka has thoroughly absorbed what makes Oribe so fascinating as a style, while allowing his own individuality to emerge naturally through the work.The exhibition will also feature some of his popular works, including abura-age Kizeto and Oribe.We very much hope you will come and see the exhibition.

Yu Nishioka solo exhibition

April 20, 2024 - April 28, 2024

Every year, I look forward to seeing the surface of Nishioka’s Ki-Seto, and once again this year it is exceptionally sharp and refined. The forms also seem to have gained an even greater sense of precision, and together with the delicate abura-age-like texture of the surface, they create a wonderfully pleasing sense of tension.Nishioka says that making Ki-Seto requires constant attention to countless small details and can be quite mentally exhausting. Oribe, by contrast, allows him to work with a much freer and more open state of mind. You can certainly see this in the way his bold, lively designs are expressed so freely in the finished forms. Although Nishioka’s works emerge from these two opposite states of mind and approaches to making, they still possess a strong sense of unity. This is perhaps because, at their foundation, they all grow out of his sustained engagement with Mino ceramics of the Momoyama period.This exhibition will once again focus on Ki-Seto and Oribe, alongside Shino and the distinctive black works unique to Nishioka. As it is the New Year, we will also be serving complimentary sake! We warmly invite you to visit!

Yu Nishioka solo exhibition

January 3, 2025 - January 12, 2025

For our first exhibition of 2025, we are pleased to present a solo exhibition by Shinsuke Nishioka.Every year, I look forward to seeing the surfaces of Nishioka’s Ki-Seto, and once again this year they are exceptionally sharp and refined. The forms also seem to have gained an even greater sense of precision, and together with the delicate abura-age-like texture of the surfaces, they create a wonderfully pleasing sense of tension.Nishioka says that making Ki-Seto requires careful attention to countless small details and can be mentally exhausting. Oribe, by contrast, allows him to work with a much freer and more open state of mind. You can certainly see this in the way his bold, lively designs are given form with such freedom. Although Nishioka’s works emerge from these two opposite states of mind and approaches to making, they nevertheless possess a strong sense of unity. This is perhaps because, at their foundation, they all grow out of his sustained engagement with Mino ceramics of the Momoyama period.This exhibition will once again focus on Ki-Seto and Oribe, alongside Shino and Nishioka’s distinctive black works. As it is the New Year, we will also be serving complimentary sake! We warmly invite you to visit!

Yu Nishioka solo exhibition

March 20, 2026 - March 29, 2026

Once again this year, we are pleased to present a solo exhibition by Shinsuke Nishioka.Nishioka works primarily with Mino ware inspired by the Momoyama period, while also actively developing new techniques that did not exist at that time, all within a rule he has set for himself: to use only materials sourced from the Mino region. As a rule, Nishioka gathers the raw materials for his work himself. He digs clay and stone and burns plants to make ash. In the course of doing so, he sometimes encounters unexpected materials that inspire ideas for new techniques. It is thanks to Nishioka’s approach and philosophy as a potter that we are able to encounter new forms of Mino ware. Thank you, Nishioka!This exhibition will feature works in his new techniques, including Mino Seihakuji, Mino Hakuji, and Gaihaku, alongside new works in Kiseto, Oribe, Setoguro, and Shino, traditions he has been exploring for many years. We warmly invite you to visit!

Yu Sugimoto solo exhibition

July 1, 2023 - July 9, 2023

This year, we are delighted to present a solo exhibition by Yu Sugimoto.Sugimoto works exclusively with Shigaraki, and every time I see his work, I am impressed by just how many different expressions he can draw from the same clay through unglazed, high-fired ware.The exhibition will also feature new designs incorporating openwork carving, a technique that is gradually becoming one of Sugimoto’s signatures.The coarse character of Shigaraki clay may seem particularly well suited to relaxed, generous forms, but it can be equally striking when used for carefully balanced and refined shapes.Because the clay contains relatively large stones and other coarse particles, I imagine carving such intricate openwork into it must be extremely difficult.And precisely because I know how difficult it must be, I cannot help wanting to ask him to do it.Human nature, I suppose.This year, Sugimoto will also present a small selection of kohiki works.We very much hope you will come and see the exhibition.

Yu Sugimoto solo exhibition

October 18, 2025 - October 26, 2025

Once again this year, we are pleased to present a solo exhibition by Yu Sugimoto.Alongside the Shigaraki for which he is well known, this exhibition will feature his White Shigaraki, fired in an electric kiln. Shigaraki is generally understood as a type of pottery fired in wood-fired kilns such as anagama and climbing kilns, prized for the natural surface effects created by fire and wood ash and for the rustic character of its coarse clay. This White Shigaraki takes an entirely different approach. It is fired pure white in an electric kiln, where neither ash nor flames are present, deliberately eliminating surface effects as much as possible. What remains is simply the coarse character of Shigaraki clay, giving it something of the air of Rambo without his weapons.Anyone with even a little knowledge of ceramics will probably be familiar with the idea, not only in Shigaraki, that coarse clay should be accompanied by wild, dramatic surface effects. White Shigaraki therefore looks decidedly unusual. And that is precisely what makes it interesting. It also makes food look fantastic! Combining the tactile character of stoneware with the versatility of white porcelain, it is a super-ultra-hybrid ware. There is nothing particularly difficult about the technique itself, but perhaps it is an idea that could only emerge by stepping outside the conventional context described above. A small but fascinating discovery.A work of art is the embodiment of an idea. This exhibition will present new tea ware, flower vessels, sake ware, and tableware in both Shigaraki, thoroughly fired in an anagama, and White Shigaraki. We warmly invite you to visit!

Yu Sugimoto solo exhibition

June 20, 2026 - June 28, 2026

This year, we are once again delighted to present a solo exhibition by Yu Sugimoto.When I visited Sugimoto’s studio two years ago, I came across some pure white vessels that had been discarded near the kiln. They were made from Shigaraki clay, with large grains of feldspar clearly visible in the body. When I picked one up, I could immediately tell that it had been fired extremely hard.When I asked Sugimoto about them, he explained that he had intended to bisque-fire the pieces in an electric kiln before applying an interior glaze. However, he fell asleep during the firing, and the temperature inside the kiln rose far higher than intended. By the time he woke up, the clay had been fired so hard that it could no longer be glazed, so he had discarded the pieces as failures.But I found them fascinating and asked him to include them in his exhibition.He began showing works made in this way last year, and this year he will present new pieces whose forms and designs have been developed with even greater attention to the distinctive white color and texture created by this firing. Of course, there will also be Shigaraki works fired in an anagama.We hope you will enjoy seeing the striking contrast between these two very different expressions of exactly the same material.We very much hope you will come and see the exhibition.Because high-fired, unglazed ware made from coarse clay can be prone to water seepage, a glaze is sometimes applied to the interior to make the vessel watertight. This is known as uchigusuri, or “interior glazing.” Before the glaze is applied, the piece is first lightly fired at around 800°C in a process known as bisque firing.