A vessel of quiet authority whose softly glowing surface recalls the mellow patina of ancient bronze rather than fired clay, by Matsushita Hiroki, enclosed in the original signed wooden box titled “Fugen Gold Guinomi.” The slightly tapering cylindrical form rises from a small recessed foot, its thinly thrown walls revealing subtle turning marks within the bowl that gather light across the warm metallic surface. Part of the artist’s Fugen series, the work reflects Matsushita’s ongoing exploration of extremely thin ceramic bodies finished with restrained metallic patinas, where functional vessels assume the presence of small sculpture. 6.5 cm (2-1/2 inches) in diameter and 7 cm (2-3/4 inches) tall, it is in excellent condition and was acquired directly from the artist before his passing.
Matsushita Hiroki (1977–2024) was born in Kitakyushu, Fukuoka Prefecture and encountered clay early in life, an engagement that deepened through formal study and culminated in a Doctorate in Fine Arts from Kyushu Sangyo University in 2009. His research on the Kakiemon style, conducted under the guidance of the Fourteenth-generation Sakaida Kakiemon and supported by the Ministry of Education’s 21st Century COE Program, placed him in direct dialogue with one of Japan’s most refined ceramic traditions. In 2017, he founded the studio-gallery Utsuwa Tsunagi (“vessels that bind”), reflecting his conviction that ceramics serve as quiet agents of human connection. Selected for the National Artists Exhibition at the Uenomori Art Museum in 2021, his career was marked by steady expansion and a sustained commitment to refinement. His works—often bearing metal-like surfaces tempered by warmth—embody a balance of rigor and grace, vessels shaped not only by discipline but by a gentle hand. Matsushita passed away in 2024. His loss is deeply felt, yet his spirit endures in the vessels he formed—objects that continue to accompany daily rituals with quiet gravity, inviting pause, touch, and connection.
