FEATURED ARTIST

“Imagination and fantasy always reinforce imperfection and achieve perfection with their own originality." 

AKIKO HIRAI AT KALPA

It is with great pleasure that we welcome London-based Japanese artist Akiko Hirai to KALPA Art Living galleries starting this season 2022. Leaning on her profound admiration and respect for Nature, where perfection and imperfection merge, Akiko’s oeuvre resonates with KALPA’s vision of artful life through harmony between aesthetics and ethics. In her work, connections are vital: language, thoughts, feelings and the viewer’s gaze all come together in the everyday interactions of our lives.

For many years Akiko was Head of Ceramics at Kensington and Chelsea College. She graduated in Cognitive Psychology from Aichi Gakuin University in Nagoya and then Ceramics from Central St Martin's in London in 2003, when she founded her studio at The Chocolate Factory. In her training years, she refined her technique of working with clay with English potters, reaching a perfect balance between Oriental and Occidental approaches to art. At the core of Akiko’s practice is the traditional Korean Kohiki pottery, featuring a porous surface and cangiante soft-white colour along with the Japanese ceramic aesthetics of wabi-sabi.

Her artistic series of Moon Jars and Poppy Pod vessels in stoneware and porcelain express an exploration of contrast, a juxtaposition of coarse clay and translucent glaze. Her skillful manipulation of the raw materials is exposed to the alchemy of the kiln, ensuring that every piece celebrates incomplete beauty and chance. Each of them is unique, surprising, of different textures and palettes of colour from deep beige and whites, olive and brown glazes to the palest of blues, offering to the observer new narratives each time.

Installation view of AEVUM exhibition, featuring Eleanor Herbosch's painting and Akiko Hirai's Moon Jars series.

MOON JAR SERIES

Extra Large Moon Jar Matt White

My pots display a lot of marks and traces of past events. To describe them in a conventional and very simplified way, they are ‘dirty’ and ‘broken’. On the other hand, they can be described in a more sophisticated way as wabi-sabi.

Multiple fired stoneware & porcelain, 2022

65 h x 60 ø cm
25 1/2 h x 23 3/4 ø in

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Medium Large Moon Jar Matt White #2

I am often asked whether my pots are created intentionally or through sheer luck. Although I love the accidental details of firing, I need to control certain things and to understand materials and processes in order to make pots at a reasonably good rate.

Multiple fired stoneware & porcelain, 2022

45 h x 60 ø cm
17 3/2 h x 23 3/4 ø in

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Medium Large Moon Jar Matt White #1

I think my work is a response to human senses. Each object has individual textures specific to that piece. I like suggestive language which has various meanings, language that interacts with readers and changes in different contexts. I want my ceramic work to be like that.

Multiple fired stoneware & porcelain, 2022

43 h x 50 ø cm
17 h x 19 1/2 ø in


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Small Moon Jar Matt White


My Moon Jars are becoming almost metaphorical, because I put a lot of stress and pressure on them, and after surviving these hardships they emerge strong and vital. [...] They are becoming more extreme, and require more care and support in my firings. 

Multiple fired stoneware & porcelain, 2022

34 h x 25 ø cm
13 1/4 h x 9 3/4 ø in

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POPPY POD SERIES

Faceted Poppy Pod

My preference of choosing types of clay when making white ware is the dark and coarse clay most of the time. The whiteness acts as a membrane or a veil. 

Highly grogged stoneware & porcelain slip, 2022

42 h x 36 ⌀ cm
16 1/2 h x 14 1/2 ⌀ in

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Fluted Poppy Pod

Superficially my work appears to be quiet in white. It does not show the rawness of Mother Nature directly. A symbolic figure always looks more perfect than the actual person he/she is.

Highly grogged stoneware & porcelain slip, 2022

24 h x 20 ⌀ cm
9 1/2 h x 7 3/4 ⌀ in


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Enceinte #1

I was, and maybe am, naive, gullible and clumsy, so I have acquired a lot of ‘marks’ in my life, like my pots. These are the marks made when I come across life’s obstacles.

Highly grogged stoneware & porcelain slip, 2022

38 h x 41 ⌀ cm
15 h x 16 1/4 ⌀ in

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Enceinte #2

I wasted lots of pots when I started making pottery, but each disaster was a precious experience, and I became more friendly with the ‘Kiln God’ as time went by.

Highly grogged stoneware & porcelain slip, 2022

38 h x 27,5 ⌀ cm
15 h x 10 3/4 ⌀ in

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AKIKO HIRAI IN HER STUDIO

Video by Beth Evans

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