A TRAIL OF IMPERMANENCE:

AKIKO HIRAI’S SOLO EXHIBITION KAZAHANA AT KALPA GALLERY

Imagine a quiet, cold morning, when the world has yet to fully awaken. Suddenly, a swarm of delicate cherry blossoms is carried by a gentle breeze, leaving fleeting traces of its gentle passage. In Japan, this phenomenon is called "kazahana" (風花), which translates as "wind flowers" and describes the swirl of snow as petals dancing in the wind. This imagery is one of the sources of inspiration and the title of the new solo exhibition by renowned London-based Japanese ceramicist Akiko Hirai.

Akiko's new solo exhibition, currently on view at KALPA's historic venue, Palazzo Bonomini, includes a selection of her most iconic forms, Moon Jars and Poppy Pods, as well as new abstract sculptural works entitled Poppy Pod Tripods. Hirai's asymmetrical ceramic forms are organic and expressive, metaphors for human life itself. They are containers of a story, witnesses to the passage of time and the events that shape us. Fully embracing the principles of wabi-sabi, in which beauty is found in imperfection and contrast, her sculptures lead the viewer into a visionary world created by the spontaneous and creative act of the artist.

Each of Hirai's unique and imperfect works pays homage to the beauty of chance and the alchemical process of creation. The vision behind the presented collection of artworks, part of her recent Dormant series, stems from the fundamental and regenerative role of the act of sleep, in which the mind and body are engaged in a constant quest to process the complexity of human emotion. It is in this moment that Hirai finds solace, particularly in the REM phase, when emotions are regulated and deposited in memory like snowflakes and petals gently falling in our minds.

‘‘A pot is like a human. Events in life are not always pleasant but they give people individuality and beauty. So I give my Moon Jars a lot of trauma and hardship…How it survives…[is] how it becomes what it is.’’

An homage to the ancient Korean minimalist vessels of the Joseon dynasty, the Moon Jars are richly textured and feature a beautiful play of contrasts between rough and polished parts. Since the debut of her first Moon Jars in 2003, Hirai's technique has evolved, transforming the imperfections of clay and fire into unpredictable traces. Hirai creates a Moon Jar by joining the edges of two hemispheres; the joint between the two halves, though polished, remains as a kind of scar or ghost, barely perceptible but adding a sense of irregularity to the finished body. Finally, to orchestrate the chemical reactions between the glaze and the ash on the surface, the artist applies several layers of glaze and glides it over the body of rough, dark clay, creating a play of contrasts.

Hirai's new Dormant series is deeply influenced by the emotions aroused by the tumultuous conflicts of contemporary life, particularly the challenge of understanding their motivations. In creating these Moon Jars, the artist focuses on the human process of rebirth rather than the events themselves. The clay undergoes gradual and delicate transformations in a state of rest, resulting in a mature and intense surface.

‘‘Forgiveness happens in our sleep. The state of dormant is not synonym of idle, instead of regulation and repair, modulating and healing.’’

Similarly, Poppy Pods embody a philosophy of hope and regeneration, symbolised by the seeds within, which will metaphorically grow when the conditions are right. Made from a mixture of hot raku clay, these works achieve a delicate balance of texture and smoothness, enriched with the dust of natural materials such as ash, husks, flakes and reeds, reflecting the deep relationship between the artist and her work.

Each ceramic sculpture has an evocative title: one of the Poppy Pod Tripods, called Sanmi Ittai, is a Japanese term meaning "three in one". These abstract, experimental forms honour the meaning of the number three, symbolising the unity of mind, body and technique, as well as the relationship between the object, its environment and the viewer.

‘‘In this exhibition, I have changed aspect of the pots. I wanted to make them tranquil like the state of 'dormancy'."

Originally from Japan, Akiko Hirai (1970) established her studio within a vibrant creative collective in The Chocolate Factory N16, London, more than twenty years ago. During her career, she has emerged as one of the most innovative and acclaimed talents in the world of ceramics. While she initially studied cognitive psychology in Japan, Hirai soon redirected her focus to mastering both traditional and unconventional ceramic techniques. She subsequently earned a degree from the University of Westminster (2002) and Central St. Martins (2003) and was shortlisted for the prestigious Loewe Craft Prize in 2019. Throughout her career, she has exhibited extensively across Japan, Europe, the United Kingdom, and the United States. Her work is included in prestigious permanent collections, such as the Keramikmuseum Westerwald, the National Museum of Ireland in Dublin, and the Victoria & Albert Museum in London.

Quotes: Akiko Hirai

Photo of Akiko Hirai: Philip Sinden, Courtesy of the Artist

Paintings exhibited in KALPA together with Hirai's sculptures: Olga Niescier

KALPA INSTAGRAM