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Summertime in Kyoto is notoriously
hot and humid. Sitting in the middle of a basin with mountains on
all sides, Japan's cultural capital can reach temperatures which rival
those of New Delhi. Any small reprieve from the heat is a welcome
gift.
That's why Yuichi Ikai's most recent
exhibition at the Daimaru art gallery was such a
refreshing surprise. In this, his fifth showing there, Mr. Ikai
chose to focus on the two glazes that have become the mainstay of his
ceramic art: haiyu and seiji. Ash glaze and celadon.
Both complimented each other well and made this collection quite fitting
for the summer. Large tsubo and vases in a pallet of pastel colors
created a sense of calm, while sky blue tea ceremony bowls lifted
spirits upwards and away from the heat. Long-time patrons and
curious passersby left the gallery pleasantly refreshed.
Complimentary as they were,
however, both glazes were silent about the particular challenges they
impose upon their maker.
Ash glazes are as varied as the
plants from which they are made. Rice husk, straw, cedar and red
pine, to name a few, are the base ingredients to a glazing medium that
offers endless possibilities. Mr. Ikai's previous exhibitions have
been marked by a delectable variety of pots in various glazes and forms -
all imbued with a soft, organic quality. The large tsubo
which served as the centerpiece for this exhibition was a proud display
of the artist's masterful command of haiyu. Its earthy, natural
tenor was classical Ikai.
Celadon, on the other hand, hasn't been as gracious. Because its
cool, powdery blue forms only under the most exacting conditions, celadon
offers few avenues for self-expression to those who work in it.
But that hasn't stopped Yuichi Ikai from standing at the edge to probe
around the boundaries a little. One notable tea ceremony bowl, a
seiji yohen chawan, was done in a unique grey celadon on the
outside, like a rain cloud, while the inside held the color of blue sky.
The dichromatic effect worked well and seems to be the creative tangent
Mr. Ikai is riding at the moment.
Form is another. Some of his
celadon kouro (incense burners) and vases were clearly influenced
by classical Chinese works (homage to the country where seiji was
born), but others were uniquely his own design - inspired, unhindered
and free from convention. One celadon single flower vase flared
out from its tiny base to the size of a rugby ball, then, with
impeccable balance, back again to an opening no larger than a pinky.
The glazing was flawless: thousands of glassy, overlapping flakes
illuminated from behind by a chalky blue.
Overall, this exhibition was a very
strong showing, affording guests with a refreshing glimpse of the
present and of things to come from the talented Mr. Ikai. The
temporary escape from the Kyoto heat made attending it all the more worthwhile.
We hope you enjoy browsing this
exhibition pictorial. For inquiries about any of the works on
display here, please
contact 2000 Cranes
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Yuichi Ikai
Exhibition
Announcement
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