Shigekazu Nagae, large white porcelain vase "Form from a Parallelogram"

Large white porcelain vase by Shigekazu Nagae, of very impressive size, constructed from assembled plates and rising into a vertical form of rare grandeur. The silhouette develops from a firm geometric structure, then opens into taut curves and supple edges that give the vase a presence that is both architectural and extremely light. Despite its dimensions, the piece retains an impression of delicacy and dynamism, thanks to the thinness of the walls and the sharpness of the design.

The matte surface is animated by a very subtle rhythm of small, almost imperceptible enamel dots. Here, they are treated white on white, which gives the decoration remarkable discretion. This regular scattering accompanies the structure of the vase, captures the light, and makes the porcelain vibrate without altering the purity of the form. This decorative restraint is essential in Nagae's work: it allows the geometric construction and the tension of the lines to remain at the forefront.

The title inscribed on the tomobako designates the vase as a "form from a parallelogram." This indication is particularly apt. It very clearly expresses Nagae's working logic, which often starts from a simple, rigorously conceived geometric form, before transforming it through firing, twisting, curving, and assembly. The vase is signed, and its original tomobako is preserved.

Born in 1953 in Seto, Aichi Prefecture, Shigekazu Nagae belongs to a long lineage of potters from one of Japan's largest ceramic centers. He specialized in casting liquid porcelain, a technique introduced to Japan in the 19th century, which he has developed into abstract and conceptual forms. His process relies on very thin elements cast in molds, bisque-fired, then suspended one within the other in the kiln so that the heat causes both the fusion of the glazed parts and the controlled deformation of the volumes.

This large vase belongs to a very important phase of his work. Before the freer and more complex works of the Forms in Succession series, Nagae already develops here what makes his language unique: porcelain cast in thin elements, the assembly of plates, the transformation of a simple geometry by fire, and a surface deliberately reduced to the essential. This vase very clearly announces this evolution, while retaining a monumental frontality and great formal legibility.

Nagae's place in contemporary Japanese ceramics is confirmed by his presence in numerous public collections, including the Metropolitan Museum of Art, the Musée Cernuschi, LACMA, the Victoria and Albert Museum, the Museum of Fine Arts, Boston, the Museum of Modern Ceramic Art, Gifu, as well as the Seto City Art Museum.

This vase unites monumentality, geometric precision, technical mastery, and decorative discretion. It will appeal to both a collector of contemporary Japanese porcelain and an interior seeking a sculptural piece of great purity.

Dimensions: width approx. 24 × 25 cm; height approx. 51 cm.