”Brothers and Sisters, can I get a ‘Hallelujah’?”
The instant I saw that gorgeous tear drop panel (complete with a wicked-cool flare & ridge) on the right of this bowl, my initial reaction was something like “Well this apple certainly didn’t fall far from the tree”. As I slowly rotated this stunner and viewed it from every possible vantage, I noted a multitude of what I have come to think of as "Toku signatures” and, well before the completion of my visual trek, found myself acknowledging that Reiichi Kurusu had just created a world-class Blowfish. Moreover, he did so through specific use elements which have appeared in the master’s work over the past decade (but never
in one specific iteration). That, my friends, speaks volumes; however talented, no carver could create this iconic form through simple imitation, it could only be born of a comprehension and understanding approaching a sub-atomic level, and an insane amount of talent certainly didn't hurt.
This Kurusu Fugu defines its hemispheres in what I have come to think of as “the old school” manner; not a ridge, but a smart plane which bisects the bowl from the upper-rear of the same, and continues its travel all the way around, until it completes its sojourn at the bottom of the mount. In the course of that journey, it is joined by an additional, supporting plane, whose existence was critical in the creation of the previously mentioned flare & ridge. One could not ask for a finer, nor more classical placement, of the grain: a combination of superb crossgrain and breathtaking birdseye, both “right where God intended”. While exhibiting a multitude of individual (but seamlessly interconnected) elements, there is nothing “ephemeral” about this Blowfish. Indeed, from the overall presentation, to the fine feeling in the palm, there is a spirit of substantial and enduring beauty: a sense that is unshakeable.
--R. 'Bear' Graves