Palm Beach Modern+Contemporary - Logo

JANUARY 11-15 | 2018 VIP PREVIEW JAN 11

Yufuku Gallery

2-6-12 Minami-Aoyama

Minato-ku

107-0062 Tokyo

Japan

Phone : +81 3 54 11 29 00

Fax :

Mobile Ph. :

URL : www.yufuku.net

Wahei Aoyama   (Director)

About

Time of Serenity - Sueharu Fukami

Sueharu Fukami Time of Serenity

Ku (Free Essence) - Niyoko Ikuta

Niyoko Ikuta Ku (Free Essence)

Exhibiting Artists

  • Takafumi Asakura  (+)

    Biography : Takafumi Asakura (1978- ) is a painter who blends into his traditional black ink works a zeitgeist for the 21st century, displaying both the highest levels of craftsmanship whilst experimenting with abstraction and the avant-garde. The young artist wields but a single type of ink and a single type of brush to paint the most intricate of Nihonga-style paintings, with negative space filled entirely with ancient calligraphy, and spiralling beacons of black ink that take on the appearance of mythical beasts or elements of nature. Yet intricacy and technique are ancillary to whether an artist has the sheer power to paint images that can move one’s heart. Asakura’s paintings are mesmerising, swirling abstractions based on both Shinto scripture and the movements within his own soul. At the same time, Asakura consciously chooses to paint on both washi Japanese paper and aluminium leaf. In fact, the artist is the first painter within the world of Japanese painting to ever attempt to paint on aluminium, and it is this progressive nature, the juxtaposition between traditional painting and contemporary materials, which makes Asakura unique. One of the youngest painters to receive two special recognitions at the Nitten Japan Fine Arts Exhibition, the art of Takafumi Asakura has only just begun.

    Exhibition : TEFAF Maastricht, Art Stage Singapore, Collect

    Detailed Description : Asakura takes great care in choosing his essential materials before painting his elegant abstractions. Yet he is far from a traditionalist, in that his subject matter can range from legendary beasts and Shinto gods to the aforementioned abstract movements within himself. And by taking his paintings onto aluminium, he has been able to compose a post-modern world that is far removed from the storied traditions of silver and gold leaf. Instead, the 21st century calls for a contemporary renaissance in painting, one that takes Nihonga to a new playing field of possibilities. Takafumi Asakura provides the pivotal key to this brave new world in Nihonga painting. The work pictured herein is a pair of large 2-paneled screens, the right screen depicting the God of Wind, the left screen depicting the God of Lightning –a dynamic inspired and made legendary by the Momoyama Rimpa painters Tawaraya Sotatsu and Ogata Korin. Asakura’s interpretation, with its aluminium leaf and bold abstract motifs filled with ancient calligraphy, is a 21st century ode to the painters of days passed.

    Also exhibited by:

    Also represented by:

  • Hisao Domoto

    Also exhibited by:

    Also represented by:

  • Sachi Fujikake  (+)

    Biography : Sachi Fujikake (1985- ) creates conceptual glass sculptures of blown sheet glass that capture the delicate remnants of light and airiness that define glass as intrinsically unique from other mediums. To instill the traits of gentle softness into the hard material of glass –Fujikake finds such to be both a challenge and her very reason for creation. Devising an ingenious and original new mode of warping sheet glass in a glory hole, Fujikake is quickly garnering a following within glass circles, and although still young, has been collected by the Alexander Tutsek Foundation in Germany, Kanazawa Udatsuyama Craft Institute, and the Koganezaki Crystal Park.

    Exhibition : Collect

    Detailed Description : Fujikake first takes individual sheets of white glass and sandblasts dots 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, and then begins to blow the melting glass, thereby helping to warp and expand the glass in a bubble-like form. Such voluptuous curvatures are intriguing characteristics of glass that cannot be achieved by sheet glass alone, and it is the combination of techniques – kiln-working, sand-blasting, and blowing glass, that eloquently melt into an entirely new spectrum of glass for the 21st century.

    Also exhibited by:

    Also represented by:

  • Sueharu Fukami  (+)

    Biography : One of the most distinguished Japanese ceramists of his generation, Kyoto’s Sueharu Fukami (1947- ) wishes to express the ‘infinite space’ that lies beyond the supple curves and sharp silhouettes of his abstract porcelain sculptures, lusciously drenched in the delicate translucency of the artist’s signature pale-blue seihakuji glaze. The triumphant edges and arches borne from Fukami’s minimal forms represent what cannot be tangibly seen: the circularity of life and the continuity of space itself. With works in over 60 public collections, in particular the British Museum and Victoria & Albert Museum in London, the Metropolitan Museum in New York City, the Museum of Fine Arts in Boston, the Musée national de Céramique-Sèvres and many others, Fukami has contributed to defining and expanding the meaning, importance, and popularity of contemporary Japanese ceramics to collectors and museums the world over.

    Exhibition : TEFAF Maastricht, Art Stage Singapore, Spring Masters NY, Art Taipei, EAF Monaco

    Detailed Description : The artist is known for his genre-defining high-pressure slip-casting techniques. Fukami’s works are first realised by creating a 3-tiered plaster mould of considerable size and weight. Porcelain slip is poured into this mould using a compressor to ensure that the porcelain clay is proportionately condensed without air pockets or impurities. Once the mould is removed, the work is dried completely. Fukami then uses an ultra-sharp Tungaloy alloy blade and sandpaper to sharpen and hone the form into the work he envisions. After bisque-firing in an electric kiln, the work is sprayed with seihakuji (celadon) glaze, and then reduction-fired in a gas kiln for approximately 30 hours. The completed sculpture is then attached to a base, usually made from granite or walnut wood. Creating approximately 10 works a year, the art of Fukami continues to inspire and fascinate the discerning eyes of critics and collectors alike.

    Artist's Objects:

    • Sueharu Fukami - Time of Serenity Time of Serenity

    Also exhibited by:

    Also represented by:

  • Shigeki Hayashi

    Also exhibited by:

    Also represented by:

  • Niyoko Ikuta  (+)

    Biography : 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 spellbinding precision. The artist’s glass works have been collected by leading public institutions such as the V&A in London, the Musée de design et d'arts appliqués contemporains (MUDAC) in Switzerland, the Badisches Landesmuseum Karlsruhe in Germany, as well as the National Museum of Art in Osaka and the National Museum of Modern Art in Tokyo, and her works continue to inspire a generation of younger artists in the increasingly popular world of glass.

    Exhibition : TEFAF Maastricht, Art Stage Singapore, Collect

    Detailed Description : Ikuta’s works capture “the complexity of light as it reflects, refracts and passes through cut cross sections of sheet glass”. Conveyed and entrapped in her glass sculptures are the artist’s inner sensibilities; with a particular emotion in mind, the artist first draws a basic sketch that best captures her feelings. 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 works are graceful manifestations of Ikuta’s inner consciousness, and the same can be said for her new work featured herein, entitled Ku-49 (Free Essence-49).

    Artist's Objects:

    • Niyoko Ikuta - Ku (Free Essence) Ku (Free Essence)

    Also exhibited by:

    Also represented by:

  • Yoshiro Kimura  (+)

    Biography : 1946 Born in Ehime Prefecture, Japan Lives and works in Hiroshima, Japan Public Collections: Tokyo National Museum of Modern Art, Japan Japan Foundation, Japan Imperial Household Agency, Japan Jingu Shrine, Japan Gifu Museum of Contemporary Ceramic Art, Gifu, Japan Hiroshima Prefectural Art Museum, Hiroshima, Japan Higashi-Hiroshima Museum of Art, Hiroshima, Japan Hiroshima University, Hiroshima, Japan Okayama Shoka University, Okayama, Japan Tanabe Museum of Art, Shimane, Japan Shigaraki Cultural Ceramic Park, Shiga, Japan Ibaraki Ceramic Art Museum, Ibaraki, Japan Hasegawa Machiko Museum, Tokyo, Japan Faenza Museo Internazionale delle Ceramiche, Italy Auckland Institute & Museum, New Zealand Museo Art Nouveau & Art Deco, Salamanca, Spain Japan-Spain Cultural Center of Salamanca University, Spain Museu Nacional do Azulejo, Lisboa, Portugal Victoria and Albert Museum, London, UK Musee National de Ceramique-Sevres, Paris, France Taipei County Yingko Ceramics Museum, Taiwan Art Gallery of New South Wales, Australia Qatar Visual Art Center, Qatar World Ceramics Exhibition Foundation, Korea Auckland Museum, New Zealand The British Museum, UK

    Exhibition : TEFAF Maastricht, Spring Masters New York, Art Stage Singapore, EAF Monaco

    Detailed Description : To capture the deep, bold blues of the oceans and skies upon the surfaces of his porcelain objects –such is Hiroshima-based artist Yoshiro Kimura’s (1946- ) reason for creation. Deeply influenced by the philosophies behind Zen Buddhism and the Way of Tea, Kimura had travelled to over 47 countries throughout the world during his years in university, and was first drawn to the beauty of clay upon seeing the enigmatic blue pigments of ancient Persian ceramics. Yet with the memory of witnessing first-hand the vivid colours of the Aegean Sea and the Pacific Ocean in Hawaii, Kimura would be inspired to recreate such natural beauty in his ceramic works. Kimura has received great acclaim for his signature bold hekiyu (blue glaze), with his works being collected by museums throughout the world, including the British Museum, the Musée national de Céramique-Sèvres, the Victoria & Albert Museum in London, and the Museo Art Nouveau y Art Déco in Salamanca, Spain, etc.

    Also exhibited by:

    Also represented by:

  • Eiko Kishi

    Also exhibited by:

    Also represented by:

  • Ken Mihara  (+)

    Biography : Pristine forests, rugged ravines, gentle rivers and quiet mountains. Such are the landscapes that artist Ken Mihara (1958- ) witnessed as a child, growing up in the majestic scenery of Izumo in Western Japan. With natural surroundings of great beauty, steeped in the mysticism of ancient Shinto lore, Mihara’s solemn stoneware are borne and influenced from deeply idyllic environs. His works are far more than odes to nature, however. They are, above all, a window into the artist’s soul, and are monuments of self-expression that capture and convey the Ken Mihara of yesterday, today, and tomorrow. With consecutively sold-out exhibitions in Tokyo and NYC since 2008, and with acquisitions by leading institutions such as the Metropolitan and the Victoria & Albert Museums, among many others, Mihara’s works have captivated a global audience, in effect propelling the artist as one of the frontrunners of contemporary Japanese ceramics.

    Exhibition : TEFAF Maastricht, Art Stage Singapore, Collect

    Detailed Description : The aesthetic qualities of serenity and the sublime coalesce within Mihara’s work. In essence, these qualities are the scents of Japan, a culture that has traditionally searched for beauty within wabi-sabi austerity, spiritual simplicity, and the cherishing of patina. Without the use of glaze, the natural landscapes of his high-fired stoneware facades are borne through multiple, lengthy and difficult kiln-firings, with each firing revealing a new element to a work’s clay flavour that ‘unlock the memories trapped within clay.’ Yet perhaps most remarkable about Mihara is his ability to dramatically change styles over the years without diminishing the ‘essence’ found within his oeuvre. In fact, Mihara changes the physical appearance of his work every three to four years, altogether abandoning popular forms for new vistas. Yet regardless of each phase in his career, each and every Mihara work is instantly recognisable as a Mihara. It is the immediate appeal of his clay flavour, his trademark blues and greys, the way his bases are elevated and executed with absolute precision, the seemingly classical, time-tested presence that brims from his minimal silhouettes, that are unmistakable for any other artist, and which have not changed throughout the years. Ultimately, Mihara, Izumo and clay cannot be separated. They are one.

    Also exhibited by:

    Also represented by:

  • Ken Mihara

    Also exhibited by:

    Also represented by:

  • Ayane Mikagi

    Also exhibited by:

    Also represented by:

  • Kanjiro Moriyama

    Also exhibited by:

    Also represented by:

  • Shigekazu Nagae  (+)

    Biography : 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 slip-casting is commonly associated with the mass production of utilitarian vessels, yet the artist has valiantly fought to transcend such stereotypes by creating wildly original and unique works of art that manipulate the distinct qualities of both slip-casting and kiln-firing. 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 natural silhouettes previously unimaginable in the context of porcelain clay. Nagae’s international recognition has grown in recent years, with acquisitions by the Victoria & Albert Museum in London, the Los Angeles County Museum of Art, totalling 21 other museums throughout the world. Also collected by leading institutions such as the Musée national de Céramique-Sèvres and the Museum of Fine Arts, Boston, among others, vibrant is Nagae’s stature in the world of porcelain.

    Exhibition : TEFAF Maastricht, Art Stage Singapore, Collect

    Detailed Description : Nagae’s new series ‘Moving Forms,’ which tests the limits of his porcelain slip-casting techniques, and is the culmination of his extensive experiments into the qualities of both clay and fire. A large, rectangular form is first slip-cast using liquid porcelain in a plaster mould, which is subsequently dried and bisque-fired. After carving and etching the surface of the clay body to the mind’s eye of the artist, the piece is suspended in mid-air within Nagae’s kiln by hanging upon a flame-resistant metal rod. By manipulating the power of gravity, the following main firing helps to drape and taper the porcelain body into organic silhouettes. In other words, Nagae’s seductive curvatures are a result of natural kiln effects that serendipitously warp the porcelain into original forms that cannot be realised otherwise. The resulting work is a virtuosic display of abstract elegance, almost paper-like in its thin, seductive movements, in essence inspired by and symbolically recreating the natural beauty of the hills, rivers, and blowing winds of the artist’s home town of Seto, Japan.

    Also exhibited by:

    Also represented by:

  • Satoru Ozaki

    Also exhibited by:

    Also represented by:

  • Kumi Sugai

    Also exhibited by:

    Also represented by:

  • Keizo Sugitani

    Also exhibited by:

    Also represented by:

  • Naoki Takeyama  (+)

    Biography : Naoki Takeyama (1974- ) is an influential young artist who wields the ancient technique of enamelling metal with an electric modernity, his highly distinctive creations calling to mind the avant-garde and asymmetrical designs of world-famous Japanese fashion designers of the 1980’s. Head of his class at the prestigious Tokyo University of the Arts, Takeyama has been recognised with a flurry of awards since his debut at the age of 24, while winning myriad awards since. With recent acquisitions by the V&A in London in 2008, the Birmingham and Plymouth Museums of Art in 2011, and the National Museum of Modern Art, Tokyo in 2012, among others, Takeyama’s metalwork is widely seen as a stunning reinterpretation of an age-old art, ultimately proposing to enamelled metal a wealth of new possibilities.

    Exhibition : TEFAF Maastricht, Art Stage Singapore, Collect

    Detailed Description : Pushing the boundaries of enamelled metal is Takeyama’s raison d’ȇtre. Incredibly, Takeyama first hand-pinches thin sheets of copper into riveting bodies that twist themselves into animation. Further, the artist uses a small sieve and a bamboo paddle to apply a powder-base enamel glaze onto the body of the work that crystalizes after firing. After applying the dry glaze, Takeyama fires the work, re-applies enamel, dries, and fires again, with the process repeated more than 10 times. The artist then meticulously applies silver and gold leaf shapes, the leaf is meticulously applied by hand onto the body of a work with the utmost precision. An object is then fired nearly 10 times more in order to fuse the leaf onto the enamelled metal, with each firing warping slightly the form, in which Takeyama must readjust with his hands again and again. As if in a state of constant flux, Takeyama’s enamelled works are an exquisite collaboration between metal and maestro.

    Also exhibited by:

    Also represented by:

  • Nobuyuki Tanaka  (+)

    Biography : Lacquer is a nebulously transparent material used to coat infinite layers upon layers upon bare surfaces, thereby imbuing them with a nearly eternal, even indestructible quality. It is this organic and enigmatic beauty of lacquer, its essence of virtual exteriors revealing hidden interiors, that fascinates the sculptor Nobuyuki Tanaka (1959 - ), widely considered to be the leading lacquer artist of his generation. Tanaka’s reflective and radiant sculptures in lacquer are towering odes to space itself, and challenge the viewer to almost question whether his or her reflection appearing on the surfaces of Tanaka’s works are in fact manifestations of unknown dimensions. Tanaka masterfully manipulates the unique qualities of lacquer to create a fluid symbiosis that captures the interconnectivity of facades and their interiors, not only elegantly crafted yet are almost ethereal in their sheer beauty.

    Exhibition : TEFAF Maastricht, Collect

    Detailed Description : Almost as if morphing out of virtual space itself, Tanaka’s black membranes of lacquer test the boundaries of dry lacquer, called kanshitsu in Japanese. Ultimately, Tanaka consciously selects lacquer to sculpt ambitious monuments to the sheer beauty of lacquer as a material, and are works that can only be realised by lacquer and not any other material. Carving first styrofoam into a basic form, the artist applies thin layers of hemp onto the surface, and then begins the process of meticulously lacquering the hemp with coats upon coats of black lacquer. After each coat, it is essential for the artist to polish the surfaces with charcoal stone, thereby giving his surfaces an almost mirror-like lustre that not only reflects light but almost absorbs and swallows light itself, his outer veneers almost infectiously pulling the viewer into its grasp as if a gaping vortex in lacquer.

    Also exhibited by:

    Also represented by:

  • Hidenori Tsumori  (+)

    Biography : 1986 Born in Tokyo, Japan 2012 B.A. Department of Fine Art, Glass Program, Tama Art University, Tokyo 2014 B.A. Department of Glass, Toyama City Institute of Glass Art, Toyama Currently works and lives in Kanazawa Utatsuyama Studio, Ishikawa Awards: 2016 Silver Prize, The International Exhibition of Glass Kanazawa 2016 2015 Hokkoku Newspaper President's Prize, 71st Kanazawa Art Craft Exhibition Miwa Jury Prize , 6th Sanyo Onoda Contemporary Glass Art Exhibition Selected, Meyer × Shigaraki Award Japan Ceramics Now -Tradition and Innovation Exhibition TV Kanazawa President's Prize, 30th Ishikawa Contemporary Art Craft Exhibition Selected, Japan Glass Art Exhibition 2015 Selected, Takaoka City 2015 Art Craft Competition 2014 Award of Excellence, Toyama City Institute of Glass Art Graduation Exhibition Selected, 29th Ishikawa of Contemporary Art Craft Exhibition 2013 Selected, Echuu Art Festa 2013 Award of Excellence, Northern Japan Newspaper Prize 2011 Selected, 47th Kanagawa Prefecture Art Exhibition Public Collections: Toyama city, Japan/ Four Seasons Hotel, Seoul / Museum of World War II, Boston, USA

    Exhibition : Solo Exhibitions:
    2016
    remains of the day - hidenori tsumori, Yufuku Gallery, Tokyo

    2015
    "Hidenori Tsumori Glass Exhibition - The Form of Vestiges - ", Ishikawa International Salon, Ishikawa

    2014
    “Hidenori Tsumori Exhibition”, Gallery Q, Tokyo

    Group Exhibitions:
    2016
    Art Stage Singapore 2016, Marina Bay Sands, Singapore ('17)
    Spring Masters New York, Park Avenue Armory, New York, USA
    EAF Monaco, Grimaldi Forum, Monaco

    2015
    SOFA Chicago, Navy Pier, Chicago
    "Space-Time Exhibition ", Art For Thought, Tokyo
    “Utatsuyama of Form Exhibition”, 21st Century Museum of Contemporary Art Kanazawa, Ishikawa
    “Art Fair Tokyo 2015”, Tokyo International Forum, Tokyo
    “Paris, Nobody Knows - Paris do not know anyone – Exhibition”, ELEKTROKARDIOGRAMM, Okayama
    “Tama Art University 80th Anniversary Exhibition”, Tama Art University, Tokyo

    2014
    “7th Glass Educational Institutions Joint Exhibition (GEN Exhibition)”, Tokyo Metropolitan Art Museum, Tokyo
    “29th Ishikawa of Contemporary Craft Art Exhibition”, 21st Century Museum of Contemporary Art, Kanazawa
    “Heartwarming 2014 Exhibition”, Gallery Q, Tokyo

    2013
    “Glass x Glass x Glass”, Takamuragyuuzin Memorial Museum of Art, Toyama
    “Glass Story”, Milestone Art Works, Toyama
    “Science Room”, Kanka Gallery, Toyama

    2012
    “Art in Life Exhibition”, Ginza Mitsukoshi, Tokyo

    2011
    “Modern”, Serikawa Gallery, Tokyo
    “Two Person Exhibition”, East Coast Gallery, Kanagawa

    Detailed Description : To capture the passing of time and the fragments of memories borne and lives lost, to limn the power of nature and its inevitable fossilisation, strike at the elegiac core of the young Hidenori Tsumori's glass sculptures which call to mind the stalagmites found in caverns deep, or the skeletal remains of the day turned to sombre yet glisteningly elegant cones of glass and clay. Utilising an ingeniously original technique of mixing clay with glass, the artist enwraps this base material around multiple casts, binding them together into a basic form. After firing in an electric kiln, the work is pulled and the plaster is removed - the remnants of the firing ultimately compose the final figure of the sculpture. One of Yufuku's youngest artists and a rising star in the world of glass, the career of Hidenori Tsumori has only just begun.

    Also exhibited by:

    Also represented by:

  • Takahiro Yede  (+)

    Biography : Profile: 1962 Born in Fukui Prefecture Lives and works in Saitama Awards: 1987 Selected, 27th Traditional Craft Art New Work Exhibition Encouragement Prize, 17th Japanese Metal Art Crafts Exhibition Selected, 34th Japan Traditional Art Crafts Exhibition 1993 Grand Prize, 23rd Japanese Metal Art Crafts Exhibition Director's Prize, Agency for Cultural Affairs Award Art Society Prize, 43rd Saitama Prefecture Art Exhibition 1995 Grand Prize, 42nd Japan Traditional Art Crafts Exhibition 1996 Prize, The Satoh Art Craft Research & Scholarship Foundation Eastern Japan Branch Prize, 36th Traditional Craft Art New Work Exhibition 2007 18th Takashimaya Art Prize, Takashimaya Cultural Foundation, Tokyo 2011 Art Fund Prize, Collect 2011, London 2014 Selected, 19th MOA Mokichi Okada Prize 2015 Grand Prize, 62nd Japan Traditional Art Crafts Exhibition 2016 Medal with Purple Ribbon for Artistic Achievement, Government of Japan Public Collections: Agency for Cultural Affairs, Government of Japan / Tokyo National Museum, Japan / National Museum Wales, UK / Manchester Art Gallery, UK

    Exhibition : Selected Exhibitions:
    2009 Group Exhibition, Collect 2009, Saatchi Gallery, London
    (’10, ’11, ’12, ’13, ‘14, '15)
    2012 Group Exhibition, Art Fair Tokyo 2012, Tokyo International Forum, Tokyo
    (’13)
    2013 Group Exhibition, TEFAF Maastricht, Maastricht (‘14, '15)
    2014 Group Exhibition, Art Stage Singapore, Marina Bay Sands, Singapore
    Clark Art Institute Grand Opening Exhibition, Massachusetts, USA
    Group Exhibition, SOFA Chicago, Navy Pier, Chicago, USA

    Also exhibited by:

    Also represented by:

  • Masaaki Yonemoto  (+)

    Biography : If the metropolises of the next millennium are futuristic pyramids in glass, Masaaki Yonemoto’s (1987- ) skyscrapers would reign bright in the night sky, glistening softly in their incandescent splendour. Born and based in Yamaguchi Prefecture, Yonemoto is a young artist, yet his talent is undisputed. Graduating head of his class at the Kurashiki University of Science and the Arts in 2010, and further completing his graduate studies at the Toyama City Institute of Glass Art, Yonemoto has received more than 11 major awards in glass in the three years since leaving university. Ultimately, the artist strives to achieve a lyrical ‘architectural minimalism in glass’ that combines the beauty of a basic outer facade coupled with the beauty of a revealed interior that is at once complex and striking.

    Exhibition : TEFAF Maastricht, Art Miami, Art Stage Singapore, Spring Masters New York, SOFA Chicago

    Detailed Description : At first glance, Yonemoto’s glass sculptures look as if they are made from a solid block of carved glass. In fact, his glass prisms are made of up to 15 separate layers of gigantic sheet glass of the highest clarity attached by a special adhesive that disappears under ultraviolet light. Yonemoto then takes a diamond-head grinder to cut through the edges of the glass, carving only a millimetre at a time to find the ideal curving silhouettes in his mind’s eye. This process takes up to two weeks to perform until he can sculpt the glass into a riveting form ‘shorn of excess.’ Next, the artist takes weeks to polish the entirety of his glass facades with cerium oxide, ensuring that the work shines without damaging his distinctive edges. Free-standing and balanced without any need of a base, Yonemoto’s seductive glass sculptures point to the future of glass as a compelling medium in contemporary art.

    Also exhibited by:

    Also represented by:

Other Represented Artists