Works in Clay
Eiji Uematsu

ALISON BRADLEY PROJECTS

526 W 26th Street, Suite 814

New York, NY 10001

646 476 8409

alisonbradleyprojects.com

Works in Clay
Eiji Uematsu
September 6 - November 18, 2023

A LISON BR A DLEY PROJECTS
Sofia Thieu D’Amico
Yuya Kawata
Ise Sharp
Cayla Blachman

Introduction
Over the course of his five-decade long career, Eiji Uematsu has produced exceptional ceramic work with a deep
sensitivity to the material and ontological qualities of clay, as well as a commitment to keen observation of thenatural world. He first began experimenting with clay as a student in the early 1970s, taken by the materiality
and possibilities of the medium. In 1975, Uematsu moved to Shigaraki, in the Shiga Prefecture of Japan, an
important historical center of Shigaraki-ware ceramic production, later settling in his current home in Iga, Mie
Prefecture, one of richest clay-mining deposits in Japan due to its location on the clay bed of the prehistoric
Lake Biwa. In the artist’s own words, he frequently describes his process as not creating new forms, but drawingout shapes that have already existed in the earth from its beginning.
Central to Uematsu’s practice is his profound dedication to highlighting the material characteristics of clay
itself: rather than taking the ornamental approach of imposing onto the clay as a vehicle for personal expression,
Uematsu’s works center the highly-textured, visual variety of his clay composites, free of glaze. Their wide rangeof colors derive purely from thoughtful mixtures of clay and experimental variations in firing. Some of theartist’s forms evoke shapes resonant of earlier ceramics, such as those of the Jōmon or Haniwa periods, whileothers revel in the intrinsic materiality which he brings forward. The works on display exemplify Uematsu’s
characteristic sense of playfulness, humor, and spontaneity, as well as the emotional depth and sense of memorythat are core to his artistic lexicon.
Uematsu’s departure from popular ceramic frameworks derives from his firm rootedness in things experienced
by and within the body. The work Stars in the Garden (2020), for example, sources its repeated spherical forms
from Uematsu’s early childhood memories, rolling mud balls in the palms of his hands. Experiments in claybuilding demonstrate Uematsu’s uninhibited relationship to earthen materials, for example, in the work Clay
Flower (2012) in which the artist threw repeated lumps of clay slip onto the floor and fired the resulting form.
Equally crucial to Uematsu’s practice is his approach to the element of fire, as both a collaborator and a sourceof creativity. This relationship is illustrated by Uematsu’s use of powdered clay on the surface of the work Sky(2020), allowing the heat of the kiln to leave dramatic and unusual cracks in its surface: lines drawn by flame.
Both his experimental production and expressive capacity to breathe the world around him into the essential
dialogue between clay and the artist’s hand has allowed his work to challenge traditional notions and forms ofceramics, and transcend categories of fine art and clay work.
The selected works stand as totems to the elemental phenomena that enliven our natural world—from thesky, to the moon, to the stars, to fresh green leaves, to human life itself. Uematsu’s clay works seek to reveal
fundamental qualities and textures of the world around us, reorienting our sensibilities to the geological andpoetic rhythms of passing time, and declaring our place among them.

“Even now, I think of myself as neither a ceramist nor an artist. Rather thanexpression, I feel more strongly that I want to deal with the clay. And, I hope
to share what I see and feel from the clay with many people.”1

1

Eiji Uematsu, Eiji Uematsu: Shooting Stars Found in the Garden. ARTCOURT Gallery, Osaka, Japan, press release, November 14 – December 19, 2020.

hanging flower vase, 2023, Clay, 12 5/8 x 1 inches

two persons, 2023, Clay, 4 7/8 x 4 1/8 x 2 1/2 inchesash, 2023, Clay, 11 5/8 x 11 x 2 inchessmile, 2023, Clay, 5 7/8 x 4 1/2 x 4 1/2 incheswater & clay, 2023, Clay, 5 7/8 x 4 3/4 x 4 3/4 inchesstarry sky, 2023, Clay, 4 x 4 1/8 x 3 1/2 inches

morning moon, 2023, Clay, 18 1/4 x 12 5/8 x 1 inches

fresh green, 2023, Clay, 11 3/4 x 7 7/8 x 1 3/8 inches

Sky, 2020, Clay, 28 3/4 x 15 1/8 x 1 1/8 inches

Clay Flower, 2012, Clay, 19 3/4 x 14 1/8 x 1 5/8 inches

Stars in the Garden, 2020, Clay, 9 3/4 x 7 3/8 x 7 3/8 inches

Air, 2020, Clay, 13 3/4 x 10 3/8 x 1 1/8 inches

Fluttering its Wings, 2011, Clay, 5 1/4 x 15 x 7 7/8 inches

Moon Jumping Rope, 2011, Clay, 8 1/4 x 7 7/8 inches

WRITINGSI have seen many Japanese ceramics, and as people often say, they are “art of fire.” Without exception,
ceramics are clay, burnt and dried. However, Uematsu’s work has freshness as if the clay was dug fromthe earth and shaped with his hands a moment before without losing moisture. If I say that its form has
humorous and kitschy aspects, you might imagine something childish, but what stands in front of you isa placid, warm, and mature object of Mother Earth.
— Ceramics collector Nana Yamasaki / SANNGA PROJECT

私は日本の多くの陶芸作品を見てきたが、陶芸とは「炎の芸術」と言われるように、例外なく土が火で焼かれ、水分を失ったものなのだが、植松氏の作品はまるでまだ土が水分を失っておらず、今大地から掘り起こされ、その手でまたたくまに整形されたような瑞々しさを持っている。
また、形状としてはコミカルでキッチュな様相もあり、と書くとまるで幼稚なものが連想されるが、目の前にあるのは、おおらかで暖かく、非常にマチュアな母なる大地のオブジェなのである。
— Translation by Yuya Kawata

Object Descriptions
hanging flower vasesmile
A slender cylinder for small florals, hanging flower
Uematsu’s playfulness and whimsy shine through invase is well-suited for a tokonoma, or a viewing alcove
smile, a clever vessel in which a shy, contented grin isfor aesthetic objects in a traditional Japanese room.
visible from both the front and the top of the vessel
The dark, textured clay and the simplicity of formin two different faces. The reddish clay body—whose
gives the appearance almost of a branch or a darkcolor indicates a lower fire—adds to the warmth ofreed. Its suspension on a fine metal wire fixes the vasethe work. Seeming ancient and modern simultaneand its arrangements into an elegant narrow hang.
ously, the hollow form and innocent expression of
Accommodating flowers, the vase grounds itself insmile evokes the haniwa terracottas of Kofun period
the natural world and nods to the wildness in which
Japan (ca. 200 to 538 CE), whose distinct, animatUematsu lives and works.
ed visual characteristics continue to inspire modern
artists. Uematsu’s exploration of primeval expression
two persons
through clay in smile highlights the connections beThis coupling of figures demonstrates the emotive
tween experienced joy, from human prehistory toquality of Uematsu’s minimal clay forms. Suggesour contemporary moment.
tive of two human companions, arms outspread, thephysical impression of Uematsu’s hands and finger- water & clay
tips upon these clay bodies is palpable, yet the forms
The highly-textured surface of water & clay exempliremain extremely simple. The work Two persons
fies Uematsu’s experimentation with the material ofdemonstrates Uematsu’s mastery of a light artistic
clay itself. The deep color of the work is evocative of
touch that imbues much life and character, not “imrich, dark earth. Its pebbled body mimics the coarseposing” but “expressing” through the clay medium.
ness of a handful of wet soil—humus and minerals,
moisture, and all particulate matter that make up
ash
our earth. As Uematsu writes:
The work ash takes its name from its subtle surface“Earth documents sound and light – the history
treatment, especially perceivable in the interior edgof the planet. It is as precious as water and air.
es of the work where a blue-green glass has pooled
Without uttering a sound, it remains in its place.
and pebbled the surface, like collecting water dropI move it with my hands and give it form. If I
lets. The work demonstrates the classic bidoro glaze
look carefully, the earth’s countenance reveals
notable of Iga-ware ceramics, produced when ash
itself. If I listen closely, I can hear its voice.”2
falls onto and sticks to the ceramic bodies fired at ahigh temperature. Also called vidro glaze, from the starry sky
Portuguese word for glass, Uematsu’s thoughtful inLike an earthen dome of night sky soaring over a
corporation of ash for a delicate finish is exemplary
field, starry sky captures a contained world, aof his historical consciousness to ceramic technique,microcosm of the universe experienced by gazing
coupled with fresh and modern forms.
into the night sky, like a deep earthen dome poked
Eiji Uematsu, Eiji Uematsu: Soil / Fire — To The Root, Koumi-Machi Kougen Museum of Art, July
19 2009 - September 6 2009. 1.
2

through with holes, letting in faint lights from a
far-away world. A frequent motif in Uematsu’s
oeuvre, starry sky evokes the feelings of stargazing, as
he himself has often described in great detail:“I lay out in the garden and gaze up at the night sky.
The color and brilliance, the size of each starvaries minutely.
When I felt as though I was about to be engulfed
by that starry sky,
A flash of a shooting star.
Playing in the mud as a child led to my work
today,
But it is not so much ‘making’ as it is finding the
flash of a shooting star within clay and fireThat then takes shape.”3

mountains that were visible between theirbranches have begun to disappear over the lastfew weeks as they become covered with fresh
greenery… Many people open their eyes when
they encounter something new. But I think
there’s something even more important about
the perfectly ordinary things and spaces along
the streets we travel everyday and in the everyday
lives we lead. Things of this sort can be foundin a variety of places: mountains and rivers, thecountryside and the city, and right around yourfeet. I can think of nothing so pleasing as having
the clay shapes and vessels I make help people
sense these overlooked times and spaces. I hope
the May sky will look even bluer, as I walk my
dog again today.”4morning moon
A faint, waning moon takes form in this hanging sky
ceramic work. Morning moon centers a gestural, abDelicate cracks run across the surface of this hanging
stracted rendering of the circular body amongst a poceramic work. A faint bluish tinge peeks through therous, dotted sky, which seems to mirror the cratered
white surface, like glimpses of blue sky between thesurface of the moon itself, or the fading starlight.
clouds. After applying blue finish to the plate andSoft lines and holes in the ceramic plaque give it anfiring it, the artist placed a layer of powdered clay on
appearance almost as if the glint of moon and stars
top of it and fired it again, which reverses the conare refracted and reflected on the surface of a body
ventional orientation of glaze covering an unglazed,of water, chased away, dissolving as the morning sun
bisque-fired clay surface. This finish creates a compours in.
plex and arresting ceramic landscape that holds space
for two opposing forces: formation and collapse.
fresh green
While Uematsu frequently says that he does not
The work fresh green is a nod towards Uematsu’s ap“make” but “discovers a work” through experiments
preciation for the natural world and the changing ofwith clay and fire, he also notes that such fine, intrithe seasons. The mottled surface treatment capturescate cracks such as in this piece are rarely realized. Sky
the visual interest of the surface of a leaf. Taking daithus is an exquisite technical achievement in clay thatly walks to deepen his relationship with the natural
exemplifies his collaborative relationship with theworld, one spring day Uematsu writes:
fires of his kiln.
“The buds of the trees begin to swell, and theEiji Uematsu, Eiji Uematsu: Shooting Stars Found in the Garden. ARTCOURT Gallery, Osaka,
Japan, press release, November 14 – December 19, 2020.
3

Eiji Uematsu, Eiji Uematsu: Between the Moon and the Sun, Nomart Gallery, September 22, 2007.
61.
4

Clay Flower
Fluttering its Wings
The process of creating Clay Flower illustrates
Eschewing the form of the butterfly in favor of
Uematsu’s uninhibited and experimental relationcapturing the movement of the butterfly, the simship to clay-building. For the work, which is complicity of the abstract shape Fluttering its Wings
posed of a mixture of clays from Shigaraki and Iga,
conveys the essence of the creature, rather than its
the artist threw repeated lumps of clay slip onto thephysical appearance, very much in the vein of abfloor, which came together into large, gestural, petstract modernist work. Imbuing a static ceramical-like rounds. He then reduction-fired the resulting
body—a mixture of feldspar-rich clays from Shigaform in his wood-fire and kerosene kiln. The experiraki and Iga—with a sense of vitality and flight is aence of Clay Flower begins and ends with the body,testament to the emotive quality of Uematsu’s hand.
from the artist’s very physical, corporeal process ofcreating the work, to viewing the organic forms blos- Moon Jumping Ropesoming together.
Moon Jumping Rope is charged with a whimsicalanimism that is noteworthy of Uematsu’s style. The
Stars in the Garden
form, with appendages that indeed seem to give it
The artist often cites his childhood memories oflift, is playful yet enigmatic. To this effect, the artplaying in the mud as the origin of his practice with
ist believes and frequently expresses that he does notclay. The recurrent spherical shapes in Uematsu’s“create shapes, but draws out shapes that already exoeuvre can be closely connected to the experience of
ist in the soil from the beginning.” Perhaps from it,
manual creation—the gradual transformation of clay
we the viewer can picture the primordial form of theinto a sphere in the palms, or as a child, for Uematmoon, and the passage of time in all of its cycles andsu, rolling mud into earthen balls. The form createdmotions, held in the soil and silt below our feet.
by stacking a number of clay spheres evokes a senseof the passing time contained within them, and the Not to Forget
time spent carefully creating and accumulating them.
Not to Forget departs from much of Uematsu’s works
on display for its arresting, solid form. Imposing likeAir
a memory firmly planted in the mind, the striking
Rendered in a red clay emblematic of the Shigaraki
finish takes on a burnt quality from a high firing
region, the work Air alludes to its title through its
temperature, painted black by the fires of the kiln.
porous lightness. The clay body has a sandy quality,
The surface also features an etched grid-patternwith particulate matter seeming to vibrate with color
across all sides, seemingly a reference to the grids
and energy. The tonal variation of light and darkemblematic of modern art that inspire both order
gives the work dimension and depth. It is precisely
and resistance. Not to Forget is a poetic gesture inthis skillful manipulation of the materiality of theclay that explores individual and collective memory.
clay that enables Uematsu to transcend traditional
categories of fine art, craft, and ceramic work.

Clay Flower (detail), 2012, Clay, 19 3/4 x 14 1/8 x 1 5/8 inches

Press Release
Alison Bradley Projects is pleased to announce our upcoming exhibition, Works in Clay: Eiji Uematsu,
featuring sixteen works by Eiji Uematsu in his first-ever New York exhibition.
Eiji Uematsu (b. Kobe, Hyogo Prefecture, Japan, 1949) works in clay, actively evading categorization as artist
or ceramicist. Rather, he approaches the medium as an exploration, delving into both the tactile and immaterial
possibilities of the clay. In his own words, Uematsu does not see his ceramic practice as producing new forms,
but as drawing out the shapes that have already existed in the soil from its beginning, and without the use ofglazing.
Uematsu began experimenting with clay as a student in Tokyo in the early 1970s, initially engaged in painting
and lithography before being taken by the materiality and possibilities of clay work. Like the Mono-ha (Schoolof Things) artists of his generation, Uematsu works within conceptual frameworks that locate works of art
not in their objective, material form, but in the immaterial structures through which they reveal themselves: inaffective sensations arising from charged “encounters,” revealing the essential nature of things. His era’s artists
endeavored to liberate work from intentions, methods, or concepts through intimate contact with the world,or shigusa: an interactive act that dissolves the distinctions between subject and object. In rethinking how weconceive of objects, or “things” themselves, Uematsu has resisted labeling himself, even as an artist, throughout
his career—his only commitment being to the clay itself.
Even without such labels, Uematsu pays homage to the history of his chosen medium through form andtexture, at times resonant of Jōmon and Haniwa works. In 1975, Uematsu relocated to Shigaraki, Shiga
Prefecture—known for its long ceramics tradition and high-quality local clay—starting his position at a regional
ceramic factory, and eventually made his home and studio in Iga, Mie Prefecture. By rooting himself in regional
Japanese ceramic traditions, Uematsu mastered technique, using them as a springboard for minimal andabstract expression. As such, the interaction between the artist’s hand and the clay appears through his playful
and experimental forms.
The works in this exhibition present the artist’s journey through the last fifteen years. The earlier works
showcased, rendered in the red clays emblematic of the Shigaraki region, nod to tradition in order to departfrom it in favor of minimalist form that actively resists function. They reference nature while simultaneously
resisting it, creating a sense of unease in making clear the interventions of the artist’s hand. The minimalism ofform prevails through the work that follows, becoming a vehicle for experiments with surface treatment.
Uematsu’s recent works synthesize these investigations into the material and poetic possibilities of clay. They
become representations of the various relationships that inspire his work and process: between the clay andthe body, the body and nature, and the clay and the earth itself. Through elegant forms and textured
surfaces, Uematsu creates room for whimsy, setting aside ceramic conventions in order to create vesselsof expression for human experience manifested through clay. Alison Bradley Projects is delighted topresent this progression of enigmatic, contemplative, and joyful work in this exhibition.
Each week, the exhibition will feature a unique floral arrangement by Ikebana artist Kan Asakura, toground the show in the natural world and to honor the wildness from where Uematsu works.

Eiji Uematsu (b. Kobe, Hyogo Prefecture, Japan, 1949) is a ceramic artist whose current practice, since
the late 1970s, has been centered out of his home and studio in Iga, Mie Prefecture, Japan. In the 1980s,
Uematsu began showing work throughout Japan, garnering a reputation as an esteemed contemporary
artist and ceramicist. He has shown widely including at the Kyoto City University of Art, Shigaraki
Ceramic Cultural Park, and the Museum of Ceramic Art, Hyogo.

CV
Solo Exhibitions
2017
Gallery Yamahon, Miet.gallery, Tokyo
2016
In the Water, the Depths of the Forest, Gallery 38, Tokyo
The Sky that the Rabbit Saw, Kyoto City University of Art. Gallery@KCUA, Kyoto
SOUTOUSYA+KYOTO, Kyoto
2015
Atelier2001, Kobe
t.gallery, Tokyo
gallery uchiumi, Tokyo
Tri Gallery Ochanomizu, Tokyo
2014
Gallery feel art zero, Tokyot.gallery, Tokyo2013
Utsuwa Nanohana, Kanagawa
gallery uchiumi, Tokyo
Tri Gallery Ochanomizu, Tokyo2012
t.gallery, Tokyo
Gallery Yamahon, Mie
Fuuki, Hyogo
Lucite Gallery, Tokyo
2011
Tri Gallery Ochanomizu, Tokyo
Gallery Shimada, Kobe
EPOCA THE SHOP Ginza Nichinichi, Tokyo
Utsuwa Nanohana, Kanagawa
2010
Lucite Gallery, Tokyo
Nanorium, Yamanashi
gallery uchiumi, Tokyo
Gallery Yuragi, Kyoto
SILVER SHELL Kyobashi, Tokyo
2009
EPOCA THE SHOP Ginza Nichinichi, Tokyo
SOIL/FIRE - TO THE ROOT, Koumi-machi Kougen Museum of Art, Nagano
Gallery Ensha, Niigata
2008
Gallery Yabuki, Okayama
Tri Gallery Ochanomizu, Tokyo
Gallery Shimada, Kobe
Lucite Gallery, Tokyo
Sakura no Syoubei Gallery, Osaka

2007

2006

2005
2004
2003

2002

2001
2000

Galeria – Selene, Fukuoka
EPOCA THE SHOP Ginza Nichinichi, Tokyo
Utsuwa Nanohana, Kanagawa
Nanorium, Yamanashi
Shape of Soil, The Museum of Arts & Crafts Itami, Hyogo
gallery uchiumi, Tokyo
Uchida, Tokyo
Gallery Yuei, Osaka
Lucite Gallery, Tokyo
Gallery Yamahon, Mie
Japonesque Gallery, San Francisco
Gallery Shimada, Kobe
EPOCA THE SHOP Ginza Nichinichi, Tokyo
Japonesque Gallery, San Francisco
Gallery Touen, Shiga
Lucite Gallery, Tokyo
Nanorium, Yamanashi
Life Gallery Ten, Fukuoka
Gallery Yuei, Osaka
Wake up gallery, Tokushima
Galeria – Selene, Fukuoka
Onshitsu, Tokyo
Gallery Ensha, Niigata
Fuuki, Hyogo
Gallery Yamahon, Mie
Kouzu Residence, Nagano
Gallery Shimada, Kobe
Uchida, Tokyo
Nanorium, Yamanashi
Amano Gallery, Osaka
Season Factory Unnun, Mie
Amano Gallery, Osaka
Gallery Ensha, Niigata
Wake up gallery, Tokushima
Gallery Iseto, Tokyo
Gallery Tenohira, Nagoya

1999

1997

1996

1995
1994
1993
1992
1991

1990
1989
1988
1987
1986

Gallery Naufu, Gifu
Fuuki, Hyogo
Season Factory Unnun, Mie
Gallery Momogusa, Gifu
Wake up gallery, Tokushima
Hanaha, Okayama
Nonorium, Yamanashi
Wake up gallery, Tokushima
Gallery Ensha, Niigata
Season Factory Unnun, Mie
Uchida, Tokyo
Gallery Tenohira, Nagoya
Sora-no-Ki, Shiga
Gallery m, Tokyo
Kaibundo Gallery, Kobe
Gallery Tenohira, Nagoya Sora-no-Ki, Shiga
Nonorium, Yamanashi
Uchida, Tokyo
Yukian, Mie
Gallery Kiraku, Shiga
Gallery m, Tokyo
Uchida, Tokyo
Kaibundo Gallery, Kobe
Gurinpiisu, Shiga
Nanorium, Yamanashi
Uchida, Tokyo
Gallery Moriyama, Shiga
Life Gallery Ten, Fukuoka
Shibuya Seibu Gallery, Tokyo
Gallery m, Tokyo
Uchida, Tokyo
Gallery Fudo, Hyogo
Gallery Mokkado, Hyogo
Shibuya Seibu Gallery, Tokyo
Gallery Palparore, Kobe
Shibuya Seibu Gallery, Tokyo
Gallery Maronie, Kyoto

Group Exhibitions
2016
Art Fair Tokyo, t.gallery, Tokyo
Craft Arts: Innovation of “Tradition and Avant-Garde,” and the Present Day, The National
Musueum of Modern Art, Tokyo2015
The 10th Paramita Grand-Prix Exhibition, Paramita museum, Mie
2013
CERAMIOUE 14 PSRIS, Paris
2012
Shigaraki ACT 2012, Shiga
2011
Object Lesson 4, Japonesque Gallery, International Fine Art and Antique Dealers Show, New York2010
Shigaraki ACT 2010, Shiga
BIWAKO BIENNALE 2010, Shiga
NEXT SENSIBILITY mononoaware, Japonesque Gallery, International Fine Art and Antique
Dealers Show, New York2008
Habitable Space that change with Art – Art/Life Planning Exhibition, Gallery Yuei, Osaka
EYE WITH OLD SOUL, Contemporary Japanese Artworks, Japonesque Gallery, International
Asian Art Fair, New York2007
FORM WITH OLD SOUL, Contemporary Japanese Artworks, Japonesque Gallery, International
Asian Art Fair, New York
Fujiyoshida Art Festival, Yamanashi
2006
Yakimono, Yukian, Mie
2005
The Art as Energy to Live, Gallery Shimada, Kobe
Bulging Shape, Uchida, Tokyo
2004
The Extending Out from the Wall, Gallery Yamahon, Mie
2003
Utsuo(Ku), Gallery Yamahon, Mie
2001
Clay and Paper: An Exhibition by Two Artists, Torroad Livings Gallery, Kobe
Fujiyoshida Art Festival, Yamanashi
2000
Millenium 2000 – 12 Artists Exhibition, Gallery Moon, Nara
Fujiyoshida Art Festival, Yamanashi
1998
The Scene of Wind, Water, Clay, Daimaru Umeda, Osaka
1996
Artist’s Dessin, Kaibundo Gallery, Kobe
1994
Story to Clay, Gallery Circus, Kobe
Kouryu Sculpture Exhibition, Hyogo
Open Air Clay Work in Kyoto ‘94, Umekouzi Park, Kyoto
Modern Tool, Tamagawa Takashimaya, Tokyo
Terra Forms Contemporary = Japanese Ceramics, ISLA Center for the Arts at the University ofGuam, Guam
Japonesque Gallery, San Francisco
1993
Clay form Seven Person Exhibition, Yamato Gallery, Osaka

1992

1991

1990
1989

1988
1987
1986

1985
1984

‘Ceramic Annex Shigaraki ’93, Traditional Craft Center of Shigaraki, Shiga / The Museum ofModern Art, Shiga
The 4th Muju International Ceramic Camp To Art Show, Seoul Muju Resort, Muju
The 1992 International Invitational Exhibition of Contemporary Ceramic Art, National Museumof History, Taipei
Two Person Exhibition: The Space, Umeda Hankyu, Osaka
Osaka Shiga-Art of Today and Tomorrow - The Seen and The Yet-to-be Seen, Yokaichi Art andCultural Center of Shiga Prefecture, Shiga
Craft as Life Environment, Apia Hall Takarazuka, Hyogo
Ceramic Annex Shigaraki ’92, Traditional Craft Center of Shigaraki, Shiga / The Museum ofModern Art, Shiga
Clay Message in Mino, Tajimi Cultural Center, Gifu
Ceramic Annex Shigaraki ’91, Traditional Craft Center of Shigaraki, Shiga / The Museum ofModern Art, Shiga
Ceramic Sculpture ‘91, Ceramic Art Gallery, Tokyo
Bao Art Festival, Okinoshima, Shiga
Ceramic Annex Shigaraki ’90, Traditional Craft Center of Shigaraki, Shiga / The Museum ofModern Art, Shiga
Shiga - Art of Today and Tomorrow – From Generation to Generation, Yokaichi Art and Cultural
Center of Shiga Prefecture, Shiga
Ceramic Annex Shigaraki ’89, Traditional Craft Center of Shigaraki, Shiga / The Museum ofModern Art, Shiga
Clay Message in Tayubori, World Design Exposition’89, Nagoya
Cafe Noire, Belgium
Ceramic Annex Shigaraki ’88, Traditional Craft Center of Shigaraki, Shiga / The Museum ofModern Art, Shiga
Ceramic Annex Shigaraki ’87, Traditional Craft Center of Shigaraki, Shiga / The Museum ofModern Art, Shiga
Clay – Image and Form 1981-1985, Seibu Hall, Otsu, Shiga / Yurakucho Art Forum, Tokyo
Clay Work ’86, Gallery Maronie, Kyoto
Ceramic Annex Shigaraki ’86, Traditional Craft Center of Shigaraki, Shiga / The Museum ofModern Art, Shiga
The 1st International Ceramic Contest ’86, Gifu
Image of Clay, Gallery Seian, Kyoto’85 Hinuma: Scenery of Soil, Hinuma, Ibaragi’84 Shigaraki Exhibition, Traditional Craft Center of Shigaraki, Shiga

1983

1982

1981

Clay Work ’83 Shigaraki & Tokoname, Traditional Craft Center of Shigaraki, Shiga / Tokoname
Municipal Ceramic Art Laboratory, Aichi (~1985)
Shiga - Art of Today and Tomorrow – From Generation to Generation, Yokaichi Art and Cultural
Center of Shiga Prefecture, Shiga
Shigaraki Claywork ’82, Traditional Craft Center of Shigaraki, Shiga
A New Wave in Shigaraki: Art Using Clay and Fire, Traditional Craft Center of Shigaraki, Shiga /Traditional Craft Center of Nagahama, Shiga / Traditional Craft Center of Azumigawa, Shiga
Art Now Iga ’82, Ueno Castle Park Basho Memorial Museum Square, Mie / Ueno Municipal
Central Public Hall, Mie / Kino Gallery, Mie
Exit Exhibition, Marusho Department Store, Wakayama
Art Now Iga ’81, Ueno Castle Park Basho Memorial Museum Square, Mie / Ueno Municipal
Central Public Hall, Mie / Kino Gallery, Mie

Selected Books & Exhibition Catalogues
2016
Eiji Uematsu: In the Water, the Depths of the Forest, exh.cat., Tokyo
2012
Eiji Uematsu: SOIL/FIRE – TO THE ROOT, exh.cat., Nagano
2007
Eiji Uematsu: Between the Moon and the Sun. Texts by Masanori Moroyama. Osaka

Courtesy of Alison Bradley Projects
Copyright of Alison Bradley Projects
526 W. 26th Street, Suite 814
New York, NY 10001