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Form and Color: Peri Schwartz and Taizo Kuroda

May 24 - Jun 22, 2019

Santa Fe

For more Information:

Press Release

 

Gerald Peters Gallery is pleased to announce an early summer exhibition of the work of Peri Schwartz and Taizo Kuroda.
 
For nearly two decades, Schwartz has been examining the tension between realism and abstraction. With a focused subject, her studio interior, Schwartz finds inspiration from
her drafting table, bottles, jars, and paintbrushes. Continuously rearranging these objects into complex and abstracted compositions by breaking up viewing planes and
laying down flat blocks of color, Schwartz brings abstraction to these otherwise representational still lifes.
 
“I think a lot of my painting is about what’s underneath. Nine times out of ten, when a painting is done, it does not look like the final setup. It looks different. It has seven paintings in one.”
 
In their subject and arrangement, Schwartz’s compositions contain echoes of Giorgio Morandi, the 20th century Italian painter and printmaker who specialized in still life. Returning to the same subject over and over again, allows Schwartz the freedom and focus of her primary interest: shape and color.
 
Schwartz’s work is in numerous public collections including The Metropolitan Museum of Art, New York, NY; Museum of Fine Arts, Boston, MA; Yale University Art Museum, New Haven, CT; Corcoran Gallery of Art, Washington, DC and the Library of Congress,
Washington, DC.
 
Taizo Kuroda belongs to a generation of Japanese ceramists who are bringing a contemporary sensibility to traditional techniques and materials. “One’s first experience of Kuroda’s work is of precisely controlled vessel forms and an exalted spirit striving for restrained expression,” writes Masanori Moroyama, Curator of the Crafts Gallery of the
National Museum of Modern Art in Tokyo. He also notes that while Kuroda’s monochromatic forms are highly personal, they have been refined from an intimate
knowledge of the revered early traditions of China and Korea—from the delicate and thinly potted Ding ware of China’s Song Dynasty, to the pure serenity of Ming Dynasty vases, and the subtle deformations in the austere white porcelain jars of the Korean Yi Dynasty.
 
During the initial phase of throwing a vessel on his potter’s wheel, Kuroda uses only his left hand, thus building an unpredictable imperfection into the silhouette as it forms. He will also introduce unexpected deformations right at the finish. The pieces are then fired for about 20 hours at 1270º C. With their slight imperfections made permanent in their firing, each ceramic form has a sense of having been arrested while it was still evolving. It appears to be approximating perfection, and yet remains mysteriously unresolved, hovering around the ideal shape that forms in our mind as we gaze at it.
 
Born in Japan in 1946, Taizo Kuroda spent a year in France in the 1960s before settling in Montreal, Canada, where he studied ceramics with Gaetan Beaudin. While designing for SIAL pottery and maintaining a studio in Canada, he also studied with Tatsuzo Shimoka in Mashiko, Japan, and eventually returned to Japan permanently in 1981. His first show of white porcelain work was in 1992 and his vessels are now in major collections throughout the world.

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