Fukami Sueharu (Japanese, born 1947). <em>Infinity II (Shinsō)</em>, 1994. Porcelain with blue-green (seihakuji) glaze, 11 x 47 5/8 x 9 1/2 in. (27.9 x 121 x 24.1 cm). Brooklyn Museum, Purchased with funds given by Alastair B. Martin, 1994.146a-b. © artist or artist's estate (Photo: Brooklyn Museum, 1994.146a-b_SL1.jpg)

Fukami Sueharu (Japanese, born 1947). Infinity II (Shinsō), 1994. Porcelain with blue-green (seihakuji) glaze, 11 x 47 5/8 x 9 1/2 in. (27.9 x 121 x 24.1 cm). Brooklyn Museum, Purchased with funds given by Alastair B. Martin, 1994.146a-b. © artist or artist's estate (Photo: Brooklyn Museum, 1994.146a-b_SL1.jpg)

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Are Kawase & Fukami Living National Treasures in Japan?

Neither artist is a Living National Treasure at this time. I'm not aware of any ceramic artist who works in a more contemporary vein like Fukami or Kawase who has earned the designation, though there are Living National Treasures who work in modern forms. The designation is most often given to people who are continuing to refine traditional approaches.

Can you tell me more about these two ceramic works?

Hi there! I'm really fascinated by these contemporary ceramic works by Japanese artists. I recently learned that there is a long tradition in Japan of allowing the materials themselves a role in the creation of each piece.

The first object you photographed, for example, was placed into the kiln as a lump of clay. The artist had full knowledge that the clay would significantly change in the kiln because of its unreasonable thickness. At the same time, he had no knowledge of what the resulting work would look like.

On the opposite end of the spectrum, the second work you photographed, by Fukami, is executed with precision and the artist even gives instructions for installation.

Is it true that the blue-green seihakuji glaze is difficult to work with?

Seihakuji glaze relies of the reduction of oxygen in the kiln as it heats up to react with the glaze to produce the color so it is certainly a very exact, delicate process.

Interesting! Thank you.

I'm intrigued by this piece.

It's so elegant, isn't it? This smooth porcelain work is incredibly controlled. Artist Fukami Sueharu uses a seihakuji glaze, a type of glaze developed in 11th century China that is blue-green in color.

The color of the glaze comes from the way the ceramic is fired in an oxygen reducing kiln environment.

Fukami includes in depth instructions for how to display his work, and he also made the wooden base on which it sits.

This work is particularly interesting to compare to the contrastingly free form work by Nishida Jun also in our collection. Both artists tap into the ceramics traditions, but their goals and results are very different.

Thanks so much!

Is there a reason these pieces are grouped together? Minus the two Qing vases, the other 4 Japanese ones seem super modern. Also, what influenced the other 4?

These pieces were placed together because they are all celadons, though as you have rightly pointed out, some are very modern and some are not. In the context of the exhibition "Infinite Blue," the celadon case is meant to highlight celadon works that are a light, clear blue, rather than the milky green generally associated with this type of ceramic.

The grouping helps us to trace a path from Chinese celadons exported to the rest of Asia, to blue celadons prized and perfected by Japanese ceramicists, to the contemporary works that still aim for the same effect.

Infinity II is really unique looking for a ceramic piece.

It is somewhat unusual, mostly because it is a contemporary work where the artist has taken traditional ceramic techniques to new places. Infinity II is actually pressure-cast and then carved to get the smooth, blade-like shape you see.

How heavy would you say the piece "Infinity II" by Fukami Sueharu is? We are debating whether the piece is hollow or not.

Although I can’t give an exact weight, the piece is very heavy and is completely solid.

I think this porcelain object (not sure what exactly to call it) is super beautiful.

You could call it a sculpture! And I agree! As you may have guessed from looking at this piece, the artist, Fukami Sueharu, is very precise in his art-making process.

He uses a glaze known as "seiakuji" in Japanese, which was first developed in the 11th century in China. Fukami fires his works in an electric kiln so that he can precisely control the temperature and therefore the outcome of his works.

Oh cool! Electric.

I’m just amazed by how sleek it is. And like the edge is so sharp like a blade but the design of the curve also has like a biological element ( sort of like a whale tail).

The precise form of this object and others that he makes are the result of a casting process. The body is actually made of slip--which is clay-based, but thinner in consistency--that he pours into a mold and uses a custom compressor to ensure total coverage of the walls.

He further refines the edges with metal tools when the sculpture is removed from the mold.

Thanks for all the info!!

What was the inspiration for this piece? And where is Infinity I, if this is Infinity II?

Fukami takes inspiration from his materials, like this traditional kaolin porcelain and seihakuji glaze that he often works with.

This is number 2 of 8 works from this series. I'm not sure where exactly the others are, but they would be in other collections around the world.

Infinity II (Shinsō)

Fukami Sueharu

Asian Art

ARTIST Fukami Sueharu, Japanese, born 1947

MEDIUM Porcelain with blue-green (seihakuji) glaze

Place Made: Kyoto, Japan

DATES 1994

PERIOD Heisei Period

DIMENSIONS 11 x 47 5/8 x 9 1/2 in. (27.9 x 121 x 24.1 cm) (show scale)

COLLECTIONS Asian Art

ACCESSION NUMBER 1994.146a-b

CREDIT LINE Purchased with funds given by Alastair B. Martin

CATALOGUE DESCRIPTION From catalogue card: Originally designed in 1993. titled "Shinsho 'Ku'" (Image Infinity). 1994.146b is a wooden stand created by the artist). A ceramic sculpture molded in an expanding winged form with sharply pointed edges. The form highlights a deep concave area, which extends towards the softly curved ridges. The surface is flawlessly covered with a traditional sehakuji (blue-green) glaze. The piece was executed in a white-bodied kaolinite which is poured into a mold under high pressure. After the casting process, the artist then carves every edge and rim of the piece. The delicate process of glazing follows after the biscuit firing. The piece is finally refired at a temperature of approximately 1250 centigrade. The result is that a flawless translucent blue-green glaze produces a highly reflective, glass-like surface. Fukami Sueharu, the artist, is one of Japan's leading porcelain artists known as a perfectionist and specialist in glaze technique. He works in his studio in Kyoto, where the ceramic sculptures such as this work are produced in limited editions; the artist does all the work himself, from mixing the clay material to casting and glazing. The object arrived in its own wooden storage box. The artist also enclosed a wooden stand (1994.146.b), as well as his original instructions for assembling the piece on stand. (See "Fukami" correspondence file). 1/11/95 The artist wrote to Curator, claiming the English title "Sky (In the Distance II)," which was what the museum first believed was the title of the work, was not correct. He suggested original Japanese word "Ku" in the title implies "endless space," certainly not "sky." Asked about the date of production of the piece, he wrote in the same letter that he made the original plaster for the piece in 1993, and he altered the mold in 1994, from which the Brooklyn's piece was made. The edition number, however, continues; 2/8 is the edition number for the Brooklyn's version. (see "Fukami" correspondence file.) Box inscription had not been read as of March 1995. Condition: Both the sculpture and base are in excellent condition. Conservator also informed that the sculpture is signed: S. Fukami and the edition number is recorded (2/8), both on the rear PR side. These appear to have been incised in the piece after firing. (See Record of Restoration File, 12/14/94) The piece was purchased on behalf of the museum with funds donated by Alastair B. Martin. 9/19/95 Confirmed: edition number "2/8" and the artist's signature in English "S. Fukami" were inscribed on the surface of an unglazed area of the piece. The piece cannot be shown in the round. (The back of the piece is unglazed.)

EXHIBITIONS

Infinite Blue

MUSEUM LOCATION This item is not on view

CAPTION Fukami Sueharu (Japanese, born 1947). Infinity II (Shinsō), 1994. Porcelain with blue-green (seihakuji) glaze, 11 x 47 5/8 x 9 1/2 in. (27.9 x 121 x 24.1 cm). Brooklyn Museum, Purchased with funds given by Alastair B. Martin, 1994.146a-b. © artist or artist's estate (Photo: Brooklyn Museum, 1994.146a-b_SL1.jpg)

IMAGE overall, 1994.146a-b_SL1.jpg. Brooklyn Museum photograph

"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.

RIGHTS STATEMENT © Fukami Sueharu

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