A Short Introduction to Glassblowing Technique
Ippodo Gallery's weekly journal feature introduces Glassblowing. Coinciding with Laura de Santillana's exhibition, Through Her Eyes: In Memory of Laura de Santillana.
A short and concise view on the techniques of glassblowing, this journal discusses Free-blowing and Mold-blowing techniques.
A personal letter from Ippodo Gallery director Shoko Aono to her late friend and artist Laura de Santillana. This letter precedes Ippodo Gallery's October - November exhibition, Through Her Eyes: In Memory of Laura de Santillana.
A Brief Look into the Technique of China Painting
China painting was first developed in China during the 7th-8th century. The main types of China painting include underglaze and overglaze. This Journal goes into detail about the two types of China painting, paired with examples from Ippodo Gallery's artists.
Ink Wash Painting and Tadataka Kishino
Samsara: Sculptures by Sho Kishino includes five ink wash paintings made by the artist’s father, Tadataka Kishino, a renowned practitioner of this style. Tadataka’s works are careful studies of space and nature. Tadataka’s works focus on the drawn line and tonal value of the ink, using the empty space of the bare washi paper or silk canvas to suggest physical space such as the sky or a body of water. In his sculpture, Sho Kishino draws inspiration from this practice in a literal sense by incorporating the physical space that his works occupy into their composition.
A Look Inside Sho Kishino's Studio
Sho Kishino invites us into his studio.
A look into the space of inspiration for a sculptor, we are offered a different lens in which to understand the production of his work. The humility, resourcefulness, and care for his pieces and practice are all reflected through his studio space.
It is through this careful documentation that the viewer can see the tidy and meticulious personality of Kishino; one that is reflected in precise and organic carving.
Chrysanthemums on the Double Ninth Festival
A deep tradition runs throughout East Asian cultures of ascribing certain numbers and dates with innately auspicious or inauspicious qualities.
The Japanese holiday Chōyō no sekku, or the Double Ninth Festival, is observed on the ninth day of the ninth month. As the greatest single-digit, odd number, nine is believed to possess an excess amount of Yang; the “double nine” of Chōyō no sekku creates an atmosphere of imbalance. But through ritual and prayer, observers of the holiday transform the day’s “excess of Yang” (chōyō) into an auspicious occasion.
Celebrated since the ninth century, Chōyō no sekku also signals the transition of the seasons and commemorates the autumn rice harvest and its accompanying bounty. Historically, Chōyō no sekku was observed according to the Chinese lunar calendar, and is now marked annually on September 9th.
A Late Summer Festival
Takashi Tomo-oka's Washi Prints
A detailed look into the materials used in Takashi Tomo-oka's delicate and minimal prints.
The Philosophy of Nature in Takashi Tomo-oka's Photography
ippodo gallery presents new pieces by yui tsujimura
Ippodo Gallery’s spring artist Koichiro Isezaki's series of provocative, sculptural, yet minimal, vessels and forms.