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Tuesday 12pm - 8pm Wednesday 12pm - 8pm Thursday 12pm - 8pm Friday 12pm - 8pm Saturday 12pm - 8pm

Nonaka-Hill, 720 North Highland Avenue, Los Angeles, CA (2026)

05/27/2026

Keita Matsunaga’s solo exhibition “The Shape of Strata” will be held at B1ock Gallery in Hangzhou, China from May 29 through June 21, 2026.

Born and raised in Tajimi, Gifu — one of Japan’s historic ceramic regions — Matsunaga approaches clay as a living material shaped not only by the artist’s hand, but also by gravity, time, drying, cracking, and sedimentation. Rather than fully controlling these processes, he allows them to remain visible within the work itself.

The surfaces of his sculptures recall geological strata, eroded landscapes, or the rings of a tree — layered traces of time and accumulation. Through subtle variations in texture, tone, and form, the works quietly reveal the memory of the land and the passage of time.

Though reminiscent of vessels, Matsunaga’s forms move beyond functionality toward a sculptural presence that feels both restrained and deeply physical. His works appear less “made” than slowly formed over time, as though they have naturally emerged from the earth itself.

Venue: B1OCK GALLERY
Building 11, -1F, OōEli
398 Tianmushan Road
Hangzhou, Zhejiang, China

05/21/2026

Nonaka-Hill is pleased to share that Kentaro Kawabata is participating in “A Form of Reverence,” a group exhibition curated by Derek Weisberg at Greenwich House Pottery.

Bringing together nine artists working across contemporary ceramics and sculpture, the exhibition explores reverence through material, transformation, gesture, and presence. Centered around the alchemic nature of clay, the exhibition considers the medium as a site where earth, air, water, and fire converge — transforming matter through process, attention, and time.

Kentaro Kawabata’s “Seed,” along with motifs of saplings, leaves, and nature’s abundance, serves as a metaphor for generative power and the sacred unfolding of life itself.

The exhibition remains on view through June 20, 2026.

Greenwich House Pottery
16 Jones Street
New York, NY 10014

Images: © Alan Wiener, courtesy Greenwich House Pottery 2026.

Ceramics Sculpture NewYork

05/12/2026

Nonaka-Hill 京都では、5月16日より7月11日まで、出津による個展「酷暑」を開催いたします。

近年、日常の語彙として定着しつつある『酷暑』という言葉に着想を得た本展は、個々人がそれぞれに不均質な現実のうちに置かれながら、いかに共通の状況を共有するに至るのかという、出津の継続的な関心を反映しています。言葉と絵画によるインスタレーションを通して、作家はそうした重層的な経験のありようにかたちを与えます。

Nonaka-Hill Kyoto is pleased to present Extreme Heat, Izutsu’s solo exhibition, on view from May 16 to July 11.

Inspired by the term “extreme heat,” which has recently entered everyday vocabulary, the exhibition reflects Izutsu’s ongoing interest in how individuals, each situated within uneven realities, come to share common conditions. Through an installation of language and painting, the artist gives form to these layered states of experience.

05/11/2026

Ritsue Mishima is part of The only true protest is beauty, the debut exhibition for Fondazione Dries van Noten at Palazzo Pisani Moretta in Venice, Italy. Curated by Dries Van Noten with Geert Bruloot, the Presentation considers craftsmanship as a language of expression and a conduit for emotion. The exhibit runs from 25 April 2026 to 4 October 2026.

An installation of her sculptures are also on view at Ethnography of the Body and Material—Slowness and Depth in an Accelerated Society, a group exhibition opening May 9 2026, at Palazzo Pisani Santa Marina in Venice. The artists involved in this exhibition will present their “sensory fieldwork,” taking place in the margins of an accelerated society via different materials such as fire, water, earth, fiber, urushi (lacquer), and glass, as well as the body.

https://fondazionedriesvannoten.org/en

05/08/2026

Nonaka-Hill Los Angeles is honored to present the works of Kimiyo Mishima in her second exhibition with the gallery. FRAGILE is currently on view.

Kimiyo Mishima (1932–2024) felt revulsion toward a culture of temporary fulfillment—newspapers once read instantly became useless, and vending machine beverage cans were purchased, their contents chugged, and the cans immediately tossed. She strove, through her seven decade career, to convey the fragile state of the environment, and her fear of being buried in infinite information and detritus.

Mishima abandoned painting around 1970, having become conceptually and metaphorically attracted to the medium of ceramic — because it can break. She replicated single-use consumer items by flattening clay into thin sheets, silkscreening and inpainting the daily news and commercial graphics that beguiled her.

Focusing on ceramic sculpture and grand scale multi-media installations, she often utilized newspaper pages that featured stories about current politics, art exhibitions, music or theatrical events, or celebrities and fashions of the moment. Mishima remained attuned to societal change and continually experimented with her work, perfecting her techniques while also incorporating materials that evoked the passage of time. These collected moments of her life stand as a diary that continued to grow in breadth until shortly before she died in the Fall of 2024.

Nonaka-Hill opened in 2018 with an inaugural exhibition of 1960s paintings by Kimiyo Mishima, complemented by photographs from Shomei Tomatsu’s “Plastics” series. Both artists were children during WWII, but went on to achieve seven-decade-plus careers creating essential expressions within Japan’s postwar art movement. This second exhibition spans various points in Mishima’s life, marking her as a pioneer of Pop Art and conceptual ceramics in Japan and internationally.

04/25/2026

Kimiyo Mishima's second exhibition with Nonaka-Hill gallery, FRAGILE, opens tonight Saturday, April 25th. Join us from 6-8pm!

“Around that time [late 1960s], I didn’t have much money, so I was looking around home and around my neighborhood and I would find materials that interested me. Among those things were piles of newspapers that my husband used to read every day, especially English newspapers like The New York Times. Those English-text printed materials appeared very beautiful to me, so I was drawn to that as a material. I would also walk around in my neighborhood and in front of the printing company where they would just discard waste papers or used posters for cinema, and I would just pick them up from the street and use them as a material. I thought these things actually depicted the contemporary times then, depicted what was going on at the time that I was living, so I was interested in using those materials; that’s how I started making collage”
Kimiyo Mishima, 2021

-hill

04/22/2026

Nonaka-Hill Los Angeles is honored to present the works of Kimiyo Mishima in her second exhibition with the gallery. FRAGILE opens this Saturday, April 25th. Join us from 6-8pm.

Kimiyo Mishima (1932-2024) felt revulsion toward a culture of temporary fulfillment—newspapers once read instantly became useless, and vending machine beverage cans were purchased, their contents chugged, and the cans immediately tossed. She strove, through her six decade career, to convey the fragile state of the environment, and her fear of being buried in infinite information and detritus.

Mishima abandoned painting around 1970, having become conceptually and metaphorically attracted to the medium of ceramic - because it can break. She replicated single-use consumer items by flattening clay into thin sheets, silkscreening and inpainting the daily news and commercial graphics that beguiled her.

Focusing on ceramic sculpture and grand scale multi-media installations, she often utilized newspaper pages that featured stories about current politics, art exhibitions, music or theatrical events, or celebrities and fashions of the moment. Mishima remained attuned to societal change and continually experimented with her work, perfecting her techniques while also incorporating materials that evoked the passage of time. These collected moments of her life stand as a diary that continued to grow in breadth until shortly before she died in the Fall of 2024.

Nonaka-Hill opened in 2018 with an inaugural exhibition of 1960s paintings by Kimiyo Mishima, complimented by photographs from Shomei Tomatsu’s “Plastics” series. Both artists were children during WWII, but went on to achieve six-decade-plus careers creating essential expressions within Japan’s “Post-war period” art. This second exhibition spans from various points in Mishima’s life, marking her as a pioneer of Pop Art and conceptual ceramics in Japan, and worldwide.

Pictured: Portrait of Kimiyo Mishima, 2009. Photo ©Michel Lunardelli.

04/10/2026

Last chance—through this weekend.

Ritsue Mishima & Anju Michele: Singing Forest
On view through April 11, 2026

Nonaka Hill Los Angeles presents Singing Forest, a two-person exhibition of glass sculptures by Ritsue Mishima and paintings by her son, Anju Michele. In their first Los Angeles presentation, the Kyoto- and Venice-based artists engage in an intimate dialogue of material and light. From the transparency of Mishima’s glass to the shimmer of Michele’s metallic surfaces, the works evoke flickering color rising from a forest once engulfed in flames—an homage to the city within an immersive installation.

Rooted in a familial bond yet transcending generations, both artists approach light in distinct but complementary ways. Mishima’s hand-blown Murano glass absorbs and refracts surrounding light, while Michele’s paintings reflect and absorb through delicate layers of color on silver and gold grounds. Installed together, each completes the other.

Mishima’s sculptures—formed without added pigments—capture natural phenomena: water, ice, molecular growth, and light in motion. Created in close collaboration with master artisans, each work embodies a convergence of instinct, environment, and material: “All become one.”

Michele’s paintings emerge from an intuitive process, shaped by early training in Venice and Tokyo. Using elemental forms—circles, diamonds, rectangles—he creates compositions that feel both cosmic and fluid. Thin applications of paint allow metallic grounds to surface, dissolving conventional structure into a free, associative rhythm.

Together, their works form a shared language of light and surface—co-authoring a quiet visual musicality that lingers in space.

04/09/2026

Images:
Rodrigo Hernández
Time is a Fish, 2026
Oil on wood
13 3/4 x 9 7/8 in
35 x 25 cm
(RODHER_2026_002)

Rodrigo Hernández
With what eyes #12, 2023
Hand-hammered stainless steel
17 7/8 x 27 3/4 x 3/4 in
45.5 x 70.5 x 2 cm
(RODHER_2025_007)

Nonaka-Hill Kyoto

ロドリゴ・エルナンデス「Fish」
2026年 4月25日まで開催中

ロドリゴ・エルナンデス（1983年、メキシコ・メキシコシティ生まれ）は、メキシコシティとパリを拠点に活動している。カールスルーエ州立美術アカデミーで学士号を取得後、マーストリヒトのヤン・ファン・エイク・アカデミーで研鑽を積んだ。

エルナンデスは、ドローイング、彫刻、版画、絵画をはじめとする古典的な芸術のメディアや技法を横断しながら、芸術とイメージの生成をかたちづくる根源的な力に向き合っている。その探究は、メソアメリカの図像から現代美術へと至り、イメージがいかに形を成し、時を超えて受け継がれ、変化する文化的文脈のなかで変容していくのかをたどるものである。

Nonaka-Hill Kyoto

Rodrigo Hernández: Fish
Through April 25, 2026

Rodrigo Hernández (b. 1983, Mexico City, Mexico) lives and works between Mexico City and Paris. After receiving his BA from the Staatliche Akademie der Bildenden Künste Karlsruhe, he continued his studies at the Jan van Eyck Academie in Maastricht.

Working across classical artistic media and techniques—including drawing, sculpture, printmaking, and painting—Hernández engages the generative impulses that shape both art and image-making. His inquiry moves from Mesoamerican iconography to contemporary art, tracing the ways images take form, are carried across time, and undergo transformation through shifting cultural contexts.

04/07/2026

This is the last week to see Singing Forest, Anju Michele and Ritsue Mishima’s first exhibition in Los Angeles.

“Stars, moon, sky, trees, grass, flowers, forests, birds, flowing rivers, seas, circles and irregular organic shapes, or geometric shapes such as diamonds, rectangles and parallelograms. Are we seeing the painter’s inner landscapes, unrelated to the outside world? Or are these scenes from real life, simplified and purified in memory? In any case Anju Michele’s swift brushwork unfailingly produces, through some mysterious process, balanced and elegant pictorial spaces that mesmerize the eye.

Many of Anju’s works are painted in oil on aluminum paper (a film produced by vacuum-depositing aluminum on paper). The paint is applied thinly so the underlying silver remains visible in places. This technique makes effective use of the translucence of oil medium, and in the entrancing picture described above, reflected light and permeating light softly blend, with planes of color and the silver background interacting in a manner that transcends the simple relationship between ground and figure. In Anju’s hands, painting is literally a world of luminous phenomena.”

Excerpt from Beautiful Luminous Phenomena by Akira Tatehata

Ritsue Mishima and Anju Michele
Singing Forest
Through April 11, 2026
720 N Highland Avenue, Los Angeles, CA 90038

04/05/2026

Saturo Hoshino is included in The Infinite Artistry of Japanese Ceramics at THE MET in New York. The exhibition explores Japan’s extensive and rich history of ceramic art, from everyday tableware to vessels created for tea masters and elite households to modern sculptural compositions.

“Spring Snow 22H-2” is part of Hoshino’s series of sculptures capturing the seasonal beauty of nature, particularly the delicate transition from winter to spring—evoking the subtle interplay of sunlight and moonlight on pristine snow blanketing a rugged landscape.

Nonaka-Hill

05/27/2026

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Tuesday	12pm - 8pm
Wednesday	12pm - 8pm
Thursday	12pm - 8pm
Friday	12pm - 8pm
Saturday	12pm - 8pm