Suzuki Kenji 鈴木健司, Signed Ceramic Vase

Japan, second half of the 20th century

Ceramic vase by Suzuki Kenji, of a highly constructed form, resting on a narrow almond-shaped foot and developing a distorted, diamond-shaped body. The silhouette is one of the most interesting aspects of the piece. The constricted base supports a volume that widens then stretches into an angular shape, very different from more classic ovoid or baluster vase typologies. The relatively discreet opening extends this construction with precision. The vase is signed and comes with its signed tomobako.

This piece is distinguished primarily by its form. The almond-shaped foot provides a concentrated base, while the body develops as a geometrized, almost sculptural volume. The piece thus rests on a subtle balance between stability and controlled distortion. This formal exploration gives the vase an immediate presence, without the need for abundant decoration.

Suzuki Kenji, born February 25, 1930, in Kyoto and deceased in 2010, belongs to a long lineage of ceramists. He learned ceramic techniques at an early age from his father, Suzuki Kiyoshi, and his brother Takuji. His family training was complemented by studies at the Kyoto University of Fine Arts, from which he graduated in 1957. During his studies, he benefited from the teaching of major masters such as Kondō Yūzō, Tomimoto Kenkichi, and Fujimoto Nōdō, before perfecting his skills as an apprentice to the sixth Kiyomizu Rokubei.

As early as 1958, one year after graduating, he was selected for the Nitten exhibition, where he would subsequently receive regular accolades. In 1960, he received the Mayor of Kyoto Award. In 1967, he won the Hokuto-shō Prize at Nitten for his work White Orb, an important piece in his career, which already demonstrated his mastery of forms and glazes. Between 1965 and 1971, he was an assistant professor to the seventh Kiyomizu Rokubei at the Kyoto University of Fine Arts. In 1976, he installed a new kiln in Yamashina, where he notably continued his research on metallic glazes.

His activity was not limited to workshop production alone. During the 1960s, he participated in international exhibitions in North America, Australia, New Zealand, and Europe, demonstrating the early extent of his recognition. He was also an important author. In 1971, he published for the National Museum of Modern Art, Tokyo, a book titled Contemporary Ceramic Art: Canada, USA, Mexico and Japan, which highlights the breadth of his visual culture and his interest in ceramics beyond Japan. In 1984, he also published Sōsaku tōgei no tenkai / sekinin henshū, among other works.

From 1990 onwards, Suzuki Kenji became an authoritative figure in the world of Japanese ceramics, serving as a judge at Nitten and a jury member for the Japan New Crafts exhibition. This recognition culminated in 2005, when he received the Order of Cultural Merit from Kyoto Prefecture. His works are preserved in important collections, notably at the Kyoto Prefectural Museum and the Kyoto Municipal Museum.

Dimensions: height 25 cm; width 19 cm; depth 12 cm.