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Artworks

TOSHIKO TAKAEZU, Shiro Momo #2, ca. 1990
TOSHIKO TAKAEZU, Shiro Momo #2, ca. 1990
TOSHIKO TAKAEZU, Shiro Momo #2, ca. 1990
TOSHIKO TAKAEZU, Shiro Momo #2, ca. 1990
TOSHIKO TAKAEZU, Shiro Momo #2, ca. 1990
TOSHIKO TAKAEZU, Shiro Momo #2, ca. 1990
TOSHIKO TAKAEZU, Shiro Momo #2, ca. 1990

Shiro Momo #2, ca. 1990

Glazed stoneware
20 x 13 1/2 x 13 1/2 in.
50.8 x 34.3 x 34.3 cm
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Further images

  • (View a larger image of thumbnail 1 ) TOSHIKO TAKAEZU, Shiro Momo #2, ca. 1990
  • (View a larger image of thumbnail 2 ) TOSHIKO TAKAEZU, Shiro Momo #2, ca. 1990
  • (View a larger image of thumbnail 3 ) TOSHIKO TAKAEZU, Shiro Momo #2, ca. 1990
  • (View a larger image of thumbnail 4 ) TOSHIKO TAKAEZU, Shiro Momo #2, ca. 1990
  • (View a larger image of thumbnail 5 ) TOSHIKO TAKAEZU, Shiro Momo #2, ca. 1990
  • (View a larger image of thumbnail 6 ) TOSHIKO TAKAEZU, Shiro Momo #2, ca. 1990
  • (View a larger image of thumbnail 7 ) TOSHIKO TAKAEZU, Shiro Momo #2, ca. 1990
Occasionally, Takeazu veered from the wheel and built up vessels using molds, assembling them with her hands. She was never particularly concerned with symmetry and her hand-built forms are examples...
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Occasionally, Takeazu veered from the wheel and built up vessels using molds, assembling them with her hands. She was never particularly concerned with symmetry and her hand-built forms are examples of the artist embracing irregularity, even accentuating it through her glazing. In "Shiro Momo" (White Peach), which she made after her mother’s passing, Takaezu deliberately rendered slits near the opening, granting an entry point into its hollow interior. The form has a natural connection to the earth in its coloration and bodily shape.
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Exhibitions

Toshiko Takaezu: The Art of Clay, GreenHill Center for North Carolina Art, 2005

Publications

GreenHill Center for North Carolina Art, Exhibition catalogue Toshiko Takaezu: The Art of Clay, 2005, page 8.
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