There are two tendencies in Kazuo Takiguchi's creative work.

One is a series of works created by removing words from the artwork.<無題>It is a work of art. It is made from a single slab of clay about 5 millimeters thick, and is a sculptural work with a plump, curved surface that somehow resembles a leather bag.

Another type of work is a unique short piece that starts with words, which was born from my experiences living in an English-speaking environment while studying at the Royal College of Art in England in 1991.

The realization that "humans think and construct works of art using words" led to the later creation of small works that began with words. These small works began with "Tougei Zukan" in 1999 and "Monojiten" in 2000.

Takiguchi liberated himself from conventional wisdom about pottery not through technique, but by using words as his motif.

The reason why each of his works is nostalgic and enjoyable is that they are born from memories (words) that could be called Takiguchi's inner landscape, and through those works, they are conveyed to the memories (words) of the viewer.

Thus, language plays a very important role in Takiguchi's works.

To borrow Takiguchi's own words, his "untitled" works are "constructed by words that cannot be put into words."

In other words, the two works are works that start with words, one being "words" and the other "words that cannot be put into words."

Words that cannot be put into words, born from the abyss of silence.<無題>His works express his inner self through form, and at the same time, they are portraits of Takiguchi's heart.

At the opposite end of the spectrum are the short pieces that begin with words, and behind these short pieces lies silence; these two types of works are two sides of the same coin.

In this exhibition, Takiguchi will be challenging himself with tea ceramics, including tea boxes.

Apparently, the thing they were most particular about was the "dimensions."

They only kept the dimensions in mind, and then created the rest freely.

Perhaps it's because focusing solely on usage restricts freedom.

Perhaps Takiguchi's works exist in the space between "use" in the sense of using something and "a vessel that transcends that use."

Perhaps it means creating a space for the tea ceremony by displaying tea boxes and tea ceramics in the room.

By the way, the joy of a tea box lies in filling it with your favorite tools, such as tea bowls, tea utensils, tea scoops, and tea whisk holders.

At that time, the first thing that would be questioned is the husband's taste, but in that respect, Takiguchi has exceptional taste, so there is no need to worry.

This exhibition will undoubtedly be a delightful display of tea ceremony ceramics that showcases Takiguchi's refined taste.

Also on display is an untitled work made of white Shigaraki clay, lightly colored with red and silver. This is a sculptural work that can be described as having an "open form."

Koichi Mori (Art critic, Standing Director of the Japan Ceramic Society)