Yufuku Pop-Up Exhibition Catalog 2017

FRIEZE WEEK POP-UP EXHIBITION
IN LONDON
Buoyed by the success of our very first Pop-Up Exhibition in London last October,
it is with great pleasure that I announce our plans to visit London once
again for our second Pop-Up Yufuku show, this time to be held in the heart of
Mayfair during London’s vibrant Frieze Week in early October.
Our 2nd Pop-Up Yufuku will commence with an opening reception on the evening
of the 5th (Thu), and will be open to the general public for 3 days from the
6th (Fri) to the 8th (Sun) of October. Further, our show will be held at a private
gallery on 10 Hanover Street, just east of Hanover Square in Mayfair.
FRIEZE WEEK POP-UP EXHIBITION
IN LONDON
Thu, 5th October - Sun, 8th October, 2017
Exhibition hours
*VIP Preview Thu, 5th October: 6pm - 9pm
Fri, 6th October: 11am - 7pm
Sat, 7th October: 10am - 6 pm
Sun, 8th October: 10am - 5pm
http://www.yufuku.net/art_fairs/yufuku-london-exhibition2017
We look forward to presenting at Pop-Up Yufuku the latest work by emblematic
Yufuku artists such as Ken Mihara, Akihiro Maeta and Yoshiro Kimura, along
with new work by younger artists such as Sachi Fujikake, Kanjiro Moriyama
and Hidenori Tsumori. Please find herein a special online catalogue of several
of the works that will be on display in London, where we will be pleased to
take pre-orders on the items listed therein. If you may have any questions or
requests, please do not hesitate to let me know.
All of us at Yufuku are excited to be able to return to London once again, a city
that feels very much like home, and we sincerely look forward to welcoming
you to the 2nd edition of Pop-Up Yufuku in London this October.
Cordially,
Wahei Aoyama
Owner
Yufuku Galley
Venue: 10 Hanover St, Mayfair, London W1S 1YF

Public Collections
About the Artist
About the Work

KEN MIHARA
Kei (Mindscape)
by Ken Mihara (2016)
Multi-fired stoneware
H42 x W42 x D35 cm
H19.3 x W19 x D13 in

KEN MIHARA
Kei (Mindscape)
by Ken Mihara (2016)
Multi-fired stoneware
H49 x W32 x D27.5 cm
H19.3 x W12.5 x D10.8 in

KEN MIHARA
Kei (Mindscape)
by Ken Mihara (2015)
Multi-fired stoneware
H42 x W42 x D35 cm
H16.5 x W16.5 x D13.7 in

SHIGEKAZU NAGAE
1953 Born in Seto, Aichi Prefecture, Japan
Lives and works in Seto
Public Collections
out the Artist
About the Work
Oft considered to be one of the leading pioneers of abstract
porcelain, Shigekazu Nagae (1953- ) has elevated the technique of
slip-casting into a mode of the avant-garde. Porcelain slipcasting
has traditionally been associated with the mass production
of utilitarian vessels, yet the artist has valiantly fought to
transcend such stereotypes by creating wildly original works of art
that manipulate the distinct qualities of both slip-casting and kilnfiring.
In fact, it is the intensity of Nagae’s kiln fires that help mould,
shape and curve his delicate white porcelain, thereby giving birth to
sleek and organic silhouettes previously unimaginable in the
context of porcelain clay. Nagae’s international recognition is
strong, with consecutive acquisitions by the Victoria & Albert
Museum in London, the Los Angeles County Museum of Art,
and the Powerhouse Museum in Sydney, totaling 23 museums
throughout the world. Also collected by leading institutions such
as the Musée national de Céramique-Sèvres and the Museum of
Fine Arts, Boston, vibrant is Nagae’s stature in the world of porcelain.
Nagae’s latest series ‘’

SHIGEKAZU NAGAE
Forms that Entwine
by Shigekazu Nagae (2017)
Slip-cast porcelain, glaze
H61.5 x W39 x D42 cm
H24.2 x W15.3 x D16.5 in

1953 Born in Kyoto, Kyoto Prefecture, Japan
Lives and works in Kyoto
Selected Awards
1982 Grand Prize, Japan Stained Glass Grand Show, Nomura Hall, Tokyo
1985 First Prize, 1st Japan International Glass Conference, Yamaha Tsumagoi, Gunma
1986 Mayor's Prize, Kyoto Exhibition, Kyoto Municipal Museum of Art
2014 Kyoto Art Culture Prize, Kyoto Chuo Shinkin Bank, Kyoto
Selected Exhibitions
1992
1993
1994
1995
2003
2009
2011
2012
2013
2014
2015
2016
Contemporary Glass Sculpture, New Jersey Center for Arts, USA
Glass from Ancient Crafts to Contemporary Art, The Morris Museum, USA
Heller Gallery, New York, USA
Vänersborg Glass Festival, Vänersborg, Sweden
Habitat Galleries, Pontiac, New York, USA
Japanese Studio Crafts, Victoria and Albert Museum, London, UK
The Glass Vessel, Kentucky Museum of Art and Craft, USA
Voices of Contemporary Glass, The Corning Museum of Glass, New York, USA
Yufuku Gallery, Tokyo, Japan
Art Stage Singapore, Marina Bay Sands, Singapore (
Asia Week New York, Fuller Building, New York, USA
Art Silicon Valley/San Francisco, San Mateo, USA
Spring Masters New York, USA
EAF Monaco, Monaco
Public Collections
Badisches Landesmuseum Karlsruhe, Germany / State Lemberk Chateau Crystalex, Czech Republic / Musée de Design et d'Arts
Appliqués Contemporains Lausanne, Switzerland / Museum Boijmans Van Beuningen, The Netherlands / Yokohama Museum of
Art, Japan / Notojima Glass Museum, Japan / Suntory Museum, Japan / The National Museum of Modern Art, Tokyo, Japan /
The National Museum of Art, Osaka, Japan / Corning Museum of Glass, USA / Victoria and Albert Museum, UK / Bristol
Museum and Art Gallery, UK/ Philadelphia Museum of Art, USA
The history of glass art in Japan is a relatively youthful one. Yet this reality is hardly a bane but a blessing, for glass artists
are not shackled by the constrictions imposed on their creativity by the towering ghosts of tradition. In this sense, the creativity of
Kyoto artist Niyoko Ikuta (1953- ) flows freely into her spiralling sheets of glass. Considered to be one of the leading figures in
Japanese glass art, Ikuta has enraptured collectors and museums the world over for her dynamic glass objects, executed
with emphatic lyricism and
Musée de design et d'arts appliqués contemporains (MUDAC) in Switzerland, the Badisches
Landesmuseum Karlsruhe in Germany, as well as
generation of younger artists in the increasingly popular and
influential world of glass.
About the Work
. Conveyed he
artist first draws a basic sketch that best captures her feelings at a certain point in time. After transferring this sketch into a
descriptive blueprint, Ikuta proceeds to materialise the design through cutting thin and separate laminated sheets of plate glass
into her desired form with the use of a glass-cutter. Each plate is then attached using clear surgical glue that hardens and
disappears under ultraviolet light. The resulting e same
can be said for her new work featured herein.

NIYOKO IKUTA
Ku-111 (Free Essence-111)
by Niyoko Ikuta (2017)
Laminated sheet glass
H29.5 x W43 x D31 cm
H11.6 x W17 x D12 in

1959
1982
1996
1998
2014
2015
2016
Born in Osaka Prefecture, Japan
Lives and works in Osaka
Graduated from Ceramic Art Institute of Tekisui Museum of Art
Prize, All Kansai Art Exhibition ('97)
Selected, Asahi Ceramic Exhibition ('99)
Stoneware Sculptures by Keizo Sugitani "The Promise" Yufuku Gallery
Collect, London
Art Miami, Miami, USA
Art Stage Singapore, Singapore
TEFAF Maastricht 2016, The Netherlands
Spring Masters New York 2016, USA

KEIZO SUGITANI
Shadows Crossing
by Keizo Sugitani (2017)
Stoneware with glaze
H74.5 x W40.5 x D26 cm
H29.3 x W16 x D10.2 in

YOSHIRO KIMURA
Public Collections
About the Artist
About the Work

YOSHIRO KIMURA
Vessel with Blue Glaze
by Yoshiro Kimura (2017)
Half-porcelain, cobalt blue glaze
H34.8 x W34.5 x D34.5 cm
H13.7 x W13.5 x D13.5 in

1978 Born in Yokohama, Kanagawa Prefecture, Japan
Lives and works in Yokohama
Spencer Museum of Art
Minneapolis of Art, USA
The Frances Lehman Loeb Art Cent - Vassar College, USA
About the Artist
About the Work

TAKAFUMI ASAKURA
Forms Borne from Three Divine Elements
by Takafumi Asakura (2017)
Black ink on aluminum leaf,
mounted on a folding screen
H165 x W163 cm
H65 x W64 in

Tomohiro Kano
TOMOHIRO KANO
1958 Born in Tokyo, Japan
Lives and works in Tokyo
Public Collections
The National Museum of Modern Art Tokyo, Japan / La Granja Royal Glass Museum, San Ildefonso, Spain
Kitazawa Museum of Art, Nagano, Japan / Myoshinji Temple, Japan
About the
To capture the beauty of the stars within the material of glass, Tomohiro Kano has created an
extremely unique method of melting different coloured glass into a unified body, encapsulating both time
and space, the universe and the world within, inside his carefully polished bodies that call to mind the
sculptures of Brassai, Moore and Arp.
o i h h rio o o ooo h h o h oo
rh o ho hoo o ir h o h orior ii ri
ir oor io i i oohiro i io ohi o or
ii ori hi hiio h o i rr ri orhoo
iihorioihh hi o ri io io ori
or

TOMOHIRO KANO
Amorphous - Contact
by Tomohiro Kano (2017)
Cast and polished coloured glass
H59 x W22 x D20 cm
H23.2 x W8.6 x D7.8 in

Museum of Fine Arts, Houston, USA

KANJIRO MORIYAMA
Kai (Turn)
by Kanjiro Moriyama (2017)
Wheel-thrown stoneware with glaze
H49 x W42 × D42 cm
H19 x W16.5 x D16.5 in

NAOKI TAKEYAMA
Public Collections
About the Artist
About the Work

NAOKI TAKEYAMA
Shirushi (Vision)
by Naoki Takeyama (2017)
Enamelled copper, gold leaf
H46 x W35 x D44 cm
H18 x W13.7 x D2.5 in

D
T

HIDENORI TSUMORI
Oscillation '16-15
by Hidenori Tsumori (2016)
Cast glass mixed with clay
H21.5 x W63 x D16.5 cm
H8.4 x W25 x D6.5 in

1985 Born in Aichi Prefecture, Japan
Lives and works in Nagoya
Public Collections
Alexander Tutsek Foundation ,Germany
Kanazawa Utatsuyama Craft Workshop, Japan
Koganezaki Crystal Park, Japan
Victoria and Albert Museum, UK
About the Artist
About the Work
New ideas will flow into oceans of unforeseen beauty.
Likewise, the works of Sachi Fujikake (1985- ) boldly defy
and transcend the qualities of glass to realms unchartered,
warping the material into ripples in time and space, tearing
at its very fabric to melt it into Dali-esque objects, surreal
yet finite, completely original yet utterly eternal in
its rippling majesty. Entitled Vestige, her works capture
the remains of what is left behind, the beauty of glass
as it turns from a hard material into something soft, in
many ways capturing the preciousness of time itself
as its continuum is bent, twisted and expanded into
forms formerly unfathomable.
Straight off the heels of her acclaimed debut at Yufuku
in September 2015, Fujikake is quickly garnering a
following within the world of glass, and although still
young, has been collected by the Alexander Tutsek
Foundation in Germany, Kanazawa Udatsuyama
Craft Institute, Koganezaki Crystal Park, and most
recently the Victoria & Albert Museum in 2015.
Organic and free flowing, crumpled yet inflated, and
translucently, lusciously radiant, Fujikake's works are
mesmerising odes to an innovative new style of
abstraction in glass. The vestiges of light, embraced
herein.
Fujikake first takes individual sheets of whitecoloured
glass and sandblasts dotted perforations onto
their surfaces, deepening the holes to heighten and
accentuate the shadows that form on her glass surfaces.
By fusing this white glass upon a darker glass in a glory
hole, she further attaches the sides to her works in a
kiln to form an essentially cubic shape. After this
basic form is created, Fujikake incredibly begins to
blow the melting glass, thereby helping to warp and
expand the glass in a bubble-like form. Such
voluptuous, seemingly impossible curvatures cannot
be achieved by the use of sheet glass alone, and it
is the combination of various glass techniques –
kiln-working, sand-blasting, and blowing glass, that
eloquently melts it into an entirely new spectrum of
glass for the 21 st century.

SACHI FUJIKAKE
Vestige XLII
by Sachi Fujikake (2017)
Blown, kiln-worked, sandblasted sheet glass
H26 x W36 x D25 cm
H10.2 x W14 x D9.8 in

SACHI FUJIKAKE
Vestige XLIII
by Sachi Fujikake (2017)
Blown, kiln-worked, sandblasted sheet glass
H32 x W15 x D14 cm
H12.5 x W5.9 x D5.5 in