TABUCHI Taro

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.