I have to admit almost nothing I see made by Suzuki
Goro surprises me anymore. My first exposure to his work back in the mid-1980s
were as disparate and far afield from each other showing various styles,
techniques and surfaces which he is now rightfully well known for. I have seen
Suzuki work, seen several videos of him working and handled quite a few of his
pieces over the years and despite the diversity there is a quality, essentially
how he handles clay, how it is pushed and manhandled that prevails in each and
every pot. The illustrated pot is an excellent earlier example of his work,
fired Shigaraki style though maybe it is best classified as haikaburi style;
this deformed wood fired mizusashi has a wonderful posture and attitude that
manifests itself in most of his work quite naturally. Without ever forsaking
function and purpose, Suzuki creates these pots that stretch the rational of
pottery making and in doing so his pieces have at times a fantastical and
lyrical presence rooted in strength and conviction. It is always easy to praise
a potter who is known internationally and is a favorite among critics, scholars
and collectors but in respect to Suzuki Goro it is always easy to see and
understand why his pottery has an allure unlike any other potter today.
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