Takiguchi Kazuo

  • Exhibitions

  • biography

    1953 Born in Gojyou-zaka Kyoto Japan 　
    1974 Graduated from Doshisha University 　
    1978 Graduated from Kyoto City University of Arts 　
    1992 Graduated from Royal College of Arts, UK

    Solo Exhibitions:

    1986 Akasaka Green Gallery, Tokyo
    Seibu D.S.Gallery, Tokyo
    Gallery Nakamura, Kyoto
    Gallery Maronier, Kyoto
    1988 Akasaka Green Gallery, Tokyo
    1989 Koyanagi Gallery, Tokyo
    Kuroda Tôen, Tokyo
    Shou-enn, Tokyo
    2010 Zetterquist Galleries, New York, NY


    Awards and Group Exhibitions:

    1985 Japan Ceramics Art Exhibition (Foreign Minister's Prize)
    1986 Chûnichi International Ceramic Exhibition (Second Prize)
    1986 Kyoto Prefecture Corporation of Arts & Crafts Exhibition (Governor of Kyoto Prize)
    1989 Japan Ceramic Art Exhibition Grand Prix
    1990 Solo Exhibition (Akasaka Green Gallery:Tokyo）
    　　 MOA Museum Mokichi Okada Award (Grand Prize)
    　　 The Now in Japanese Ceramics-Messages from Artists in Kyoto
    　　　 Takasimaya:Tokyo,Yokohama,Osaka,Kyoto)
    1991 Solo Exhibition (Sagacho Exhibit Space:Tokyo)
    Solo Exhibition (AZ Gallery:Tokyo by SEIBU)
    　　 Goto Memorial Foundation Award (Young Artists Prize)
    　　 Japan Ceramics Corporation Award (Grand Prize)
    1992 Solo Exhibition（Installation in North Yorkshire Landscape）
    Group Show（Fruits of Fruits in Royal College of Arts）
    The Now in Japanese Ceramics-Messages from Artists in Kyoto Part Ⅱ
    　　　 (Takasimaya:Tokyo,Yokohama,Osaka,Kyoto)
    1993 Solo Exhibition by Pieces of Glass (Akasaka Green Gallery:Tokyo)
    1994 Solo Exhibition (Gallery KOYANAGI :Tokyo) \, Sponsord By GOTO Memorial Foundation.
    　　 Solo Exhibition (Akasaka Green Gallery:Tokyo)
    Solo Exhibition (Masuda Studio :Tokyo)
    1995 Solo Exhibitions (UKOU-TEI:Odawara / HIEN-SO:Kyoto )
    Solo Exhibition titled A MEMORY SEEN IN A DIFFERENT LIGHT 1995 (Espace OHARA:Tokyo) Sponsoerd by OHARA-RYU.
    1996 Kyoto Prefecture's Culture Award (Young Artists Prize)
    　　 Solo Exhibition (Aoyama Green Gallery:Tokyo)


    1997 The United Methodist Church( at Soho )
    Zetterquist gallery
    Koyanagi Gallery Tokyo
    1998 Akasaka Green Gallery
    1999 Niki gallery Tokyo
    2000 Akaska Green Gallery
    2001 Gallery Koyanagi
    Takashimaya Galleries (Tokyo, Osaka, Nagoya, Kyoto)
    Matsuzakaya Gallery in Nagoya
    Fukuoka Asian Art Museum
    2005 Matsuzakaya Nagoya
    2006 Tôji: Avant-Garde et Tradition de la Cèramique Japonaise, Musée national de céramique Sèvres, France
    2009 Mirai no takaramono; The Future's Treasures, Takashimaya Art Gallery, Nihonbashi, Osaka, Shinjuku, Kyoto


    Selected References:

    Christine Shimizu, Tôji: Avant-Garde et Tradition de la Cèramique Japonaise, Editions de la rèunion des musèes nationaux, Paris, 2006

  • Takiguchi Kazuo

    Takiguchi Kazuo

  • bio pt 1

    bio pt 1

    Born 1953, Gojō-zaka Kyoto Japan

    TAKIGUCHI KAZUO was the son of a tableware wholesaler in Gojōzaka, Kyoto, at the center of production of traditional Kyoto ceramics. After twice dropping out of university, he studied briefly under Kiyomizu Rokubei VI (1901-1980) followed by a brief time with Yagi Kazuo (1918-1979). He also frequented Kondō Yutaka (1932-1983) and Fujihira Shin (1922-2012). It was Yagi’s aesthetic and focus on non-traditional, sculptural forms that made a lasting impact on Takiguchi. Years later he also studied at the Royal College of Arts, London, graduating in 1992. Living overseas made him realize the important role the Japanese language played in his life and how it impacted his artwork. Since then, he has focused on words as a source of inspiration. The artist emphasizes that just as he is free to use language according to his own desires and needs, he endeavors to give each work a presence unique unto itself. It is important to him that his works touch the viewers’ hearts outside of the context of functionality.

  • bio pt 2

    bio pt 2

    His sculptural process is both complicated and highly creative. Using pulleys, he first flattens a slab of thinly pounded clay between 1/8-1/4 inches thick and lays it in a canvas sheet. With the use of pulleys, he then hoists it and suspends in the air, molding it into the amoebic form he wishes. After the clay body is dry enough to maintain its shape, he then tears open a hole at the top. His ambitiously abstract forms have made him one of the standard-bearers of contemporary Japanese ceramics.