HONDA SYORYU
Seven years ago, Honda Syoryu was introduced to me as an artist who possessed tremendous technical and artistic skill. At the time of our meeting he had one bamboo artwork, made in 1981, that won a major prize at a regional juried exhibition. This piece was acquired by Lloyd Cotsen, and is now part of the Cotsen Japanese Bamboo Art Collection at the San Francisco Asian Art Museum. Honda’s artistic career had come to a halt years before because of the lack of interest among Japanese collectors in bamboo arts. He could not devote the months necessary to make exhibition level work when those pieces did not sell. To make a living, he filled wholesale orders for simple bamboo flower baskets, an insidious relationship in which wholesalers take advantage of the influx of inferior baskets from other Asian countries to push the price of superiorly crafted Japanese pieces down. Honda was trapped working long hours virtually every day of the week in order to make a living, leaving no time to make a bamboo artwork of the originality and quality necessary for acceptance at juried exhibitions. Without the recognition from these exhibitions, he could not establish an artistic career. One of the greatest pleasures, and responsibilities, of being an art dealer is nurturing an artist’s growth. Honda’s work had been accepted three times in the fall Japan Traditional Craft Arts Association exhibition, and a fourth acceptance would give him full membership and the chance to win prizes. I asked Mr. Cotsen if he would sponsor Honda’s creation of a piece for submission, with the understanding that it would become an important addition to his collection. He Untitled 2005, 22 x 6 1/2 x 16 in. ( detail on cover )
3
agreed. Honda made a dazzling offering tray, which the judges rejected. Mr. Cotsen liked the tray a lot, but declined to sponsor Honda a second time; so I decided the gallery would. Honda made an even more dynamic and beautiful tray and, it was rejected much to my amazement. I realized at this time the judges did not want to see originality in submissions for membership; they wanted strong technical ability and a cleaving to tradition. With some reluctance, I agreed to support Honda again for the necessary two months while he made a piece. What emerged was a bamboo sculpture entitled Dance that was the starting point of a brilliant series that continues to evolve to this day. His radical departure from traditional bamboo vessels sparked me to introduce him to a senior leader of Nitten, the Japanese Fine Arts Association. His work was instantly accepted for exhibition, and within two years he won a major prize. The sculptures in this catalog demonstrate his ongoing strong artistic development. Honda possesses another extraordinary quality that I would like to recognize. He has taken talented young bamboo artists into his studio for training, and helped them mature and gain confidence. Through him, Mimura Chikuho and Nakatomi Hajime came to my attention as aspiring artists worthy of the gallery’s representation. Both have proved very popular with Westerners, and are blossoming. It is a great tribute to Honda’s character that he shows interest in emerging artists. This support, and his dedication to his art, bode well for the future of Japanese bamboo arts. – Robert T. Coffland
4
Reincarnation 2004,19 x 18 x 33 1/2 in.
A R T I S T ’S S TAT E M E N T
I am greatly touched and thankful for the support of TA I Gallery and many other people who have made my first solo show in the United States a reality. This is a long-cherished dream of mine. Most of my earlier bamboo pieces were functional vessels, made for use as flower vases or serving dishes. Since I met Robert Coffland seven years ago, I have changed to sculptural forms involving such motifs as nature, time, and space. Many of the exhibited pieces are inspired by encountering and interacting with Western culture. I am determined to evolve my artwork, to enhance my aesthetic sense and to demonstrate the unique qualities of bamboo, which is, for me, the best material for creating sculpture. Honda Syoryu
Prominence 2004, 23 1/2 x 20 1/2 x 24 in.
7
8
Red Clouds 2004, 26 x 15 x 10 in. (detail above) Collection of Joakim and Amanda Arnesson
Red Clouds 2004, 26 x 15 x 10 in. (detail at left)
9
10
Aurora 2005, 19 x 15 x 19 in. (two views)
12
Shadow 2005, 24 x 18 x 14 in. (above) Collection of Gary Ferraro and Lorne Lassiter Rhythm 2005, 9 x 5 x 19 1/2 in. (right)
14
Three Worlds 2004, 27 x 21 x 14 1/2 in. (two views)
15
16
Aurora I I 2004, 20 x 17 x 16 1/2 in. (above) Collection of Phoebe Cowles Mountain River 2005, 27 x 17 x 18 in. (right)
17
HONDA SYORYU 1951 1978 1979 1981 1982 1985 1986 1988 1989 1999 2000
2001
2002
2003
2004
2005
Born in Kagoshima Graduated from Oita Prefectural Beppu Advanced Occupational School, Department of Bamboo Craft Art Admitted to 14th Japan Traditional Craft Art Exhibition, Western Division Winner of “Japan Traditional Craft Art Association Award” at 16th Western Japan Traditional Craft Art Exhibition Admitted to 17th Japan Traditional Craft Art Exhibition, Western Division Apprentice to Monden Nisho Winner of “Oita Governor’s Award” at Japan Traditional Craft Art Exhibition, Western Division Admitted to 35th Japan Traditional Craft Art Exhibition Admitted to 36th Japan Traditional Craft Art Exhibition Exhibited at International Asian Art Fair, New York Exhibited at SOFA Chicago Admitted to Nitten ( Japan Fine Arts Exhibition) for the first time Finalist for Cotsen Bamboo Prize 2000 Exhibited at International Asian Art Fair, New York Exhibited at SOFA New York and Chicago Exhibited at International 20th Century Art Fair, New York Admitted to Japan Modern Craft Art exhibition Exhibited at Arts of Pacific Asia, San Francisco Exhibited at International Asian Art Fair, New York Exhibited in “Bamboo Fantasies”, Tai Gallery, Santa Fe Exhibited at SOFA New York and Chicago Special Demonstration at Pacific Asia Museum, Pasadena, California Exhibited in “The Next Generation”, University of Arkansas Exhibited at Arts of Pacific Asia, San Francisco Exhibited at International Asian Art Fair, New York Exhibited at SOFA New York and Chicago Exhibited at International Art & Design Fair, New York Exhibited at Tigerman Himmel Gallery, Chicago Exhibited at International Asian Art Fair, New York Exhibited at SOFA New York and Chicago Exhibited at Hali Fair, London Exhibited at Antiques Chicago Exhibited at International Art & Design Fair, New York Exhibited at SOFA New York and Chicago Exhibited at Antiques Chicago Exhibited at International Asian Art Fair, New York Exhibited at International Art & Design Fair, New York Exhibited at Palm Beach!, Florida Exhibited at San Francisco International Art Expo, California
MUSEUM COLLECTIONS:
Museum of Arts and Design, New York San Francisco Asian Art Museum
Undulation 2004, 28 x 17 x 7 in. Collection of Brad Gordon and Angelique Leibow
TAIGALLERY TextileArts 616 1 â „ 2 Canyon Road Santa Fe, NM 87501 505.984.1387 gallery @ textilearts.com www.textilearts.com
Photography by Carolyn Wright