Founded by Keiko Aono in 1996, Ippodo Gallery has pioneered Japanese Kogei art - ceramics, lacquerware, woodwork, metalwork, textiles, glass, painting, photography, etc. In 2008, Shoko Aono brought Ippodo Gallery to share Japanese Kogei art to New York City.
Crescent Moon 月
H70 7/8 x W46 1/8 in
H180 x W117 cm
Featured worldwide from the Tokyo Metropolitan Art Museum to Paris and Cologne, Matsubara’s paintings are serene, drifting, yet contained and dynamic. From intense brush strokes to delicate texture, each painting represents a return to nature, an appreciation, and consideration of the earth and natural elements.
Treasuring communication with nature and our roots, Matsubara travels around the mountains and plains of the Nasu District, gathering inspiration and materials of colored earth and sand to produce his paintings. His paintings reflect Matsubara’s appreciation of nature as each piece, with ink waterfalls and silver moonlight, reflects the breathtaking anomalies of nature that we sometimes forget.
Fushi (Wind Figure)
H11 3/4 x W16 1/2 x D15 in
H30 x W42 x D38 cm
Bamboo is the severest material in Japanese Kôgei. Its endurance is reminiscent of a person of principle; its unbending nature esteemed mimic a robust and open mind. Like bamboo, the artist and his work have a straightforward and independent spirit: deceptively all-encompassing yet direct. Much of the artist’s process is based on the preparation of the bamboo itself. Craftsmen face the rawness of nature, held captive by the material’s properties. While these bamboo challenges can break the spirit like a dull blade, the obstacles make Take-Kôgei so unique.
The bamboo is carefully boiled, stretched, and ironed flat for its final smooth and malleable texture. It is hard work, but the passion for the craft takes precedence and the desire to present every aspect of the unmarred bamboo at its highest quality. As Matsumoto has said, “I weave bamboo with my pleasure. I weave by my body and mind, not by my hand.”
Ippodo Gallery’s commitment to harmony in the natural world is constant. Bamboo’s unyielding nature and the integrity of the form preserve the earth’s untouched beauty.
Sphere Shaped Jar, Natural glaze
H16 7/8 x W17 3/4 x D17 3/4 in
H43 x W45 x D45 cm
Shiro Tsujimura began his artistic career studying oil painting; however, he became disillusioned during this process and eventually abandoned the idea. Inspired by a classic Ido tea bowl from the Folk Museum in Japan, Tsujimura embarked on ceramic arts. He is widely known as a master of pottery as his ceramic works reflect a level of sophistication and return to nature in the various clay bodies and glazes he used. His dedication to the ceramic arts bleeds into his lifestyle. In 1967, Shiro and his wife moved to Mima, Nara, where he currently resides, and built a home, a teahouse, and seven kilns over the years. His work populates the collections of museums throughout the world as wells as are sought after by collectors.
Chrysanthemum 5, Kiku, 2017
H10 13/16 x W21 3/16 in, L27.5 × W53.8 cm
In his quest to produce pictorial photographs, Tomo-oka uses a digital camera, but he applies virtually no manipulation or deception to the resulting image. He says his work is over once he releases the shutter. Produces detailed sketches of the plants’ positioning, planning the composition, and preparing the background before the shoot. When it comes to printing, he never liked the directness of photographic paper. Still, he came into contact with handmade Japanese paper that softened the crisp brightness of photography, the running of the ink and depth of the color-producing a more oblique image and creating ‘a painting-like photograph’. While it is challenging to produce prints on handmade paper using classic photographic techniques, he has been able to use a wide variety of documents since he began using a digital camera.