TABUCHI Taro works TABUCHI Taro works TABUCHI Taro works TABUCHI Taro works TABUCHI Taro works
2000 B.F.A. Osaka University of Arts
1977 Born in Kagawa Prefecture

Solo Exhibitions

2018 Daimaru Shinsaibashi, Osaka
2017 Terada Bijutsu, Tokyo
Rinkaan, Ehime
Gallery Utsuwa Note, Saitama
2016 Epoca the Shop Ginza, Nichi Nichi, Tokyo (’14,'12,’11,’10)
2015 TOMIO KOYAMA Gallery, Hikarei Shibuya, Tokyo
Matsuzakaya, Nagoya
2014 Wood-fired White Porcelain, Keiko Art International
2013 Mchino Schule 963, Takamatsu
Hagino-an, Tokushima
2009 Artland Gallery, Kagawa
Tohrin Shunyo, Gifu
2008 Gallery Michi, Osaka
2005 Kyuman Museum, Kazawa
2004 Inax Galleria Ceranica, Tokyo
2003 Shionoe Museum, Takamatsu

Group Exhibitions

2018 TABUCHI Taro and TAKEUCHI Kozo, Gallery Soukyo, Tokyo (’13, ’12, ’11)
2017 TABUCHI Taro and TAKEUCHI Kozo, Shuen Museum, Taiwan
TABUCHI Taro and IZUMITA Koreya, Shinjuku Isetan, Tokyo
2015 Nippon! Contemporary Arts and Crafts from Japan, ESH Gallery, Milan, Italy
Dialogue with Materials: Contemporary Japanese Arts an Crafts, Anadolu University, Eskisehir, Turkey
8 Ceramic Artists, 8/ Art Gallery/ Tomio Koyama Gallery, Tokyo
2014 International Japanische Progressive Keramik Trifft auf Japanische Avantgardistische Malerei, Galerie IAC-Berlin-Koigswinter and Tenri Kultur Werkstatt, Cologne
Dialogue with Materials: Contemporary Japanese Arts an Crafts, Ahmed Adnen Saygun Sanat Merkezi, Izmir, Turkey
2013 Walk on the Wild Side, Gomi Kenji, Takeuchi Kouzo, Tabuchi Taro, TKG Edition Kyoto
La céramique Japonaise, Association Culturelle Franco-Japonaise de TENRI, Paris, Luxembourg
TABUCHI Taro and TAKEUCHI Kozo, Gallery Toukyo, Tokyo (’12, ’11)
Traditional and Contemporary, Historical Museum, Pavlikeni, Bulgaria
2012 Tabuchi Taro and Imaizumi Takeshi, KEIKO Gallery, Boston, MA
Takeshita Shikamaru, Tabuchi Taro, Utsuwa Note, Saitama
Takeuchi Kouzo, Tabuchi Taro, Mitsukoshi Isetana, Osaka
2011 From Ateliers in Kagawa, Machino-Schule, Kagawa
SAKAZUKI Exhibition, Gallery UTSUWAKAN, Kyoto
Tea Utensils, Shinjuku Isetan, Tokyo
2010 Table Ware for Kaiseki, Gallery Utsuwa-kan, Kyoto
Yu-Wan-Ten, Gallery Utsuwa-kan, Kyoto
2008 It’s All About Cups 08, KEIKO Gallery, MA (also in '07)
2007 Japan Month in Huoston, Contemporary Japanese Arts and Crafts
SOFA New York
2006 Honoh – Tsunagu(Fire – Communication) exhibition, Gallery Kumie, Nara
2005 International Porcelain Exhibition Mino, Gifu
Takaoka Craft Exhibition
Small Vessels and Tools, Inax Galleria Ceranica, Tokyo
110 people exhibition, Galleria Ceramica World Tiles Museum, Aichi
New Sence of Ceramic, World Tiles Museum, Aichi
2004 Sake-no -Utsuwa (Vessels for Sake), Gallery Michi, Osaka
Asahi Contemporary Craft Exhibition, Hankyu Department Store, Osaka
Collaboration with IKEBANA exhibition, OAP Tower, Osaka
Shape of Ceramic Exhibition, Gallery Kitanozaka, Kobe
Ark Art Exhibition, Sunport Hall Takamatsu, Kazawa
2003 Asahi Contemporary Craft Exhibition
UNOMI-TEN (Tea Cup Exhibition), Gallery Kitano, Kobe
2014 Emerging artist award, Kagawa Prefecture
2004 Outstanding Award, 21nd Asahi Contemporary Craft Exhibition
2003 Excellent Award, Asahi Modern Craft
  • Shionoe Museum, Takamatsu
  • Minneapolis Institute of Arts, MN
  • Anadole University Museum, Eskisehir, Turkey
  • Ibaraki Ceramic Art Museum
  • INAX Tile Museum, Tokoname
  • Four Seasons Hotel, Kyoto
  • Ritz Carlton Hotel, Kyoto

What I think is distinctive about my work in white porcelain clay is that it is fired in a traditional wood-fired kiln without protection. While most contemporary ceramic artists in Japan now fire in gas kilns, I am obsessed with wood-firing and its challenging possibilities.

Wood-firing produces accidental colors and patterns on the surfaces from the falling ash and smoke and can be somewhat controlled by the placement in the kiln and the exposure to the fire. These unpredictable, unintentional results are, to me, the most fascinating aspect of wood-firing.

At the beginning of the 17th century the use of white porcelain clay was introduced into Japan from China and evolved into a distinctive Japanese ceramic style in the kilns of Imari and Arita, among others. Because these porcelains were appreciated for their pure, white surfaces (that lent themselves easily to surface decorations) they were fired in saggars (closed ceramic containers) to protect the ceramics from ash and debris. These immensely popular Japanese porcelains have been fired in wood-fired kilns for centuries.

However, I began to feel that these traditional methods of firing defeat a more thrilling possibility of white porcelain—accidental surface patterns. To me these unintentional ‘designs’ are similar to ink paintings on white paper or canvas. Therefore, I built a primitive style anagama kiln in my yard for wood-firing. After a long period of trial and error, I began to see the beginning of the results that now characterize my work.

Critical to the beautiful surface patterns from the fire and ash are the delicate balance of the kiln temperature, length of firing, clay, glaze and the wood used for firing. It is this balance that produces the pink, purple and yellow colorations on my work.

In Japan, such random surface patterns on ceramics are called keshiki (scenery ). From one’s own sensibilities one can see among these unintended patterns aspects of the natural landscape—mountains, forests, sky, sea. And if people have this experience with my work, I am, indeed, pleased.