ach of Eiji Uematsu’s modest-scale ceramic objects and plaques is a succinct statement. Each seems considered, and then honed so that it is nothing more than it needs to be. The 16 diminutive works in Alison Bradley’s small New York gallery employ a muted chromatic range, no glaze is in evidence, and on the checklist the material is identified simply as clay and no firing information is provided. While an introductory wall text describes the Japan-based Uematsu as having begun
