Installation View at Gallery Yamaguchi in 1992 1948 Born in Hiroshima 1973-77 Architect at Denys Lasdun and Partners, London 1975 Awarded 1st prize, The monument for Edmund Blunden, City of Hiroshima 1978-82 Studied sculpture at Chelsea School of Art, London 1991 Awarded Annely Juda Scholarship 2001 1st prize,Art on the Riverside,South Sheilds   Currently lives and works in London     1984 Michiko Fine Art, Hiroshima ('85, '86)   Muku Gallery, Hiroshima ('85)   Sohkasha, Shimane ('88) 1985 Moris Gallery, Tokyo ('86, '87, '88)   "Art in Sing", Sogo Department Store, Hiroshima 1986 Liveral Art Gallery, Hiroshima 1987 "Sound Installation", Wiz Wonderland, Hiroshima 1990 "Artist of the Day" (chosen by Nigel Hall), Flowers East, London 1991 Benjamin Rhodes Gallery, London 1992 Gallery Yamaguchi, Osaka (visual) 1993 Benjamin Rhodes Gallery, London 1994 Angela Flowers, Gallery M, London 1996 Gallery Yamaguchi, Osaka       1997 Gallery A, Installation "Static Field", London (site) 1998 The Loft Gallery, Glasgow (site) 1999 Gallery at Miyamori Architect and Associates, Hirosima 2001 The Slade Gallery, University College London, London   Gallery Niklas von Bartha, London   Gallery Yamaguchi, Osaka   Open Studios, London     All works: Resin on Canvas 2001         1982 "Hayward Annual '82", Hayward Gallery, London 1983 "The 2nd Pusan Biennale", Korea   "Styles of Contemporary Art in Japan", Yamaguchi Citizen's Hall / Fukuyama Citizen's Hall   "Opening Show 1&2", Studio-Odd, Hiroshima 1984 "New Artists Exhibition", Hiroshima Prefectural Museum of Art 1985 "2+8, installation", Hiroshima Prefectural Museum of Art 1986 "The 32nd Hiroshima Peace Art Exhibition", Hiroshima Prefectural Museum of Art ('87, The 33rd) 1987 "The 5th Osaka Contemporary Art Fair", Osaka Contemporary Art Centre (Gallery Yamaguchi) 1988 "New Year New Year New Art '88", Moris Gallery, Tokyo   "Polycross Art '88", Kohchi Prefectural Culture Centre 1990 "Work on Paper", Benjamin Rhodes Gallery, London 1991 "1st International Small Sculpture Exhibition", Legnano, Italy   "Small is beautiful", part 9, Flowers East, London 1992 NICAF '92 /Gallery Yamaguchi, Yokohama   Osaka Contemporary Art Fair 10th Anniversary / Gallery Yamaguchi / My Dome Osaka       1993 Metallic Works / Gallery Yamaguchi(visual)   "Small is beautiful", part 11, Flowers East, London 1994 Angela Flowers, Gallery M, London   The Blue Gallery, London 1996 The Print Show, Angela Flowers Gallery, London   The Blue Gallery, London 1997 The Summer Show, Gallery Yamaguchi, Osaka 2000 Mondiale Echo's, Mondrian Museum, Netherland   Self-portrait,Angela Flowers Gallery,London   Royal College of Art,London 2001 Schlumberger Art Project,Cambridge,UK       Linear Cycle 1994, Welded steel 520 x 730 x 730 cm, Public installation at Hiroshima City (large visual) "Art dose not render the visible, rather it makes visible." (Paul Klee) 1 Takashi Suzuki's wall sculptures and ground-based strucutures have the formal rigour of contructivist work, but the system upon which their forms and relations are predicated( of which they are, so to speak, logical terms ) is for the artist a means not to logical or mathematical demonstration so much as the basis for a process that leads to the revelation of unforeseen dynamics. What is discovered is the unprecedented realisation in objective form of a set of relations that has existed, in potential, forever. The very simplicity of his systems allows for a natural and un-contrived process of search : these forms are not invented but found, being inevitable. What is inevitable is not, of course, predictable : Suzuki's forms surprise us : that is part of the pleasure they provide. Suzuki's earlier sculptures are nothing more, or less, than modular permutations of the apparently infinite number of possible configurations of proportional rectangular volume that can be generated by the cube, all of which variations of solid and void refer to the national perfect cube which contains them, and that metaphysically comprehends them. It is to this ideal form that these wonderfully various visible manifestations pay unassertive homage. They at are once indicators ( as examples) of a geometric actuality, and of its morphological potentiality, and signs of an invisible timeless reality. In starting from the cube, and referring back always to it, they conform to a simple systematic procedure, but they have more than an experimental or demonstrative function ; they have a distinctive poetic presence, an aesthetic potency that goes beyond their facination as exemplification's of a geometric or formal idea. Suzuki's wall sculptures project into the room with a solidity that is a function of their four-square alignment to the horizontal / vertical axes ; whatever the configration of cuboid elements, whether of augmentation or subtruction, solid or void, they have a block- like physical substantiality, however modest its assertion. Their scale is deliberate,intended to act upon the viewer's perceptions of the rooms in which they are placed rather than to exist as freestanding self-contained sculptures ; they are interventions and provocations into interior spaces. At whatever height they are placed on the wall ( and this is not something that can be predetermined: they are not "pictures" with given sight lines) their essential with archtectural space, with the room itself as a rectangular enclosure. Colour plays a part in this conversation : in the polychrome works, it emphasises the modular attributes of a piece in which there are significant internal relations of symmetry or counterchange; in the more self-effacing monochrome pieces the unifying colour implies a direct external relation between the sculpture and the room space in which it finds itself. ( There are no works, for wall or floor, in which there are not internal symmetries of one kind or another : Suzuki's is an art of stillness or poise.) The dynamic relations of the floor pieces to the space around them differ absolutely in these respects from those of the wall sculptures. Resting on corners ( points) their lines and planes alike are diagonal in their articulations, giving them a kinetic linear vitality quite distinct from the volumetric stillness of the wall sculptures. Like dancers or gymnasts they touch the ground at points of convergent energies sufficient to maintain the tensions of upward thrust against the inexorable pull of gravity. Their dynamism is paradoxically an expression of their earth-bound condition : they are images of the natural dialectics by which things move through space and leap free of the ground. As Kandiensky knew : "the sculpture in space is, at the same time, a linear construction." The line, like the point, is "an invisible thing" ; in its operation "the leap out of the static into the dynamic occurs." In Suzuki's floor sculptures line and plane, the invisible and the visible, rise from and culminate in the point : they are dynamic paradigms, signifying " the real structural possibilities of nature." They do not seek to represent the world so much as to "present the world as a model, functioning by analogy..." 2 Suzuki's work continues and extend the vital interpenetration of Eastern and Western modes of thought and practice in art that has been a central feature of modernist abstraction. In his work this is achieved by a contemplative concentration upon a simple process, a routine which, like those of Zen, has no intentions upon the world, and that makes visible in an instant of discovery the dynamic harmony that exists between opposites: solid and void, positive and negative, full and empty, light and dark. These opositions are manifest in the work itself, as real presences, real absences, substance and shadow. Suzuki's sculptures are themselves concrete images of the dialectical energies by which their actual integrity as forms is maintined. An unassertive intensity of relation between solid form, space and light is a defining characteristic of Suzuki's sculpture. All object sclpture displaces space and is defined by light; it is tangibly there, where it is placed; it is seen. Those are the conditions in which its meanings begin. But that intensity of relation to which I refer is of the essence in the case of Suzuki's sculpture : its meaning are to be found in that dynamic itself. For Suzuki's work is abstract in the purest sense of that term, its forms and relations are objective realisations of hidden structures and harmonies, it presents us with image-analogies of the ordering energies by whose unseen agency things cohere. Its forms are generated by systematic procedures, constrained by simple rules. The process of their discovery involves an ordered repetition and variation of regular geometric figures, symmetrical and asymmetrical distributions of solid and space, plane and volume. Their configurations of light and shadow, line and plane, form and space are as much a matter of surprise and delight to the artist who discovers them as to the viewer who encounters them in the rooms and public spaces whose rectangular volumetrics they imitate, compress and complexify. They are charged with an affective energy that carries them beyond platonic exemplification. Their vitality of response to the changing light, and to the changing viewpoint of the spectator moving in relation to the piece, is a function of the subtle architectonics of Suzuki's sculptures and relieves, and of the discipline of his three-dimentional drawing. Substance and shadow, block and hollow, parallels of line, plane, angle and edge, subtleties of tone and colour, all pay a part in the dialectics of visibility and concealment, perspective and parallax that maintain the dynamic poise of the work, holding its components in a perfect coherence of oppositions. Every positive element in a Suzuki's sculpture is balanced by a corresponding negative, actual or implied. Still and expressionless, these modest constructions counter the kinetic variegation of the circumambient world. Suzuki's latest work continues to engage with his underlying preoccupations, and to be created in the dialectical spirit that has animated his project from the outset. There are new visibilities of structure, new clarities of geometric relation between inside and outside, between structure and space. In the resin works, cast or constructed, of the last few years a new kind of dynamic complexity is achieved by the actual penetration of light into the substance of the geometric forms. They have brought, too, a subtle set of oppositional relations : between light and darkness( at the near surface and at the impenetrable core of the object); between the malleable softness of the material and the hard-edged geometry of the form; and between colour and shape( the former variable in light, the latter fixed and known but vague in perceptual terms).   Other site of Suzuki   Gallery A, Installation "Static Field", London (site) The Loft Gallery, Glasgow (site) Exhibition at Gallery Yamaguchi. 2001