April 10th 2019 - May 6th 2019
Ken Mihara, Japanese ceramic artist, is specialized in the conceiving and making of potteries. His work can be characterized by the minimalist forms which link the delicate shapes with cutting edges. Mihara used clay since he was a child, after giving up his engineering studies to dedicate his life to art and creation. Thanks to his experimental and technical approach of clay, he wins several awards in 2009 such as the Ceramic Society Award (2008), the Paramita Ceramics Competition Price, Paramita Museum Japan (2006), the Energia Art Award (2002), the Shizuoka Prefecture’s Cultural Encouragement Award (2009). Acquisition of his artworks were made by the Metropolitan, the Modern Art Museum in Tokyo the Victoria & Albert Museum. His work can also be found in multiple galleries around the world: the Besson Gallery in London, the Joan B. Mirviss in New York, the Yufuku Gallery in Tokyo, and now, the Mayaro Gallery in Paris. Mihara's works have captivated a global audience, propelling the artist to be one of the frontrunners of contemporary Japanese ceramics.
Without the use of glaze, the natural landscapes found on his hand-built facades are borne through multiple, lengthy and difficult kiln-firings, with each firing revealing a new element to a work’s clay flavour that help to ‘unlock the memories trapped within clay.’ Yet perhaps most remarkable about Mihara is his ability to dramatically change styles over the years without diminishing the ‘essence’ found within his oeuvre. In fact, Mihara changes the physical appearance of his work every three to four years, altogether abandoning popular forms for new vistas. The work featured in the TEFAF’s exhibition in 2017, in fact, marked the world debut of Mihara’s latest body of work, entitled Kuon (Aetus). Yet regardless of a given period in his career, each and every Mihara work is instantly recognisable as a Mihara. It is the immediate appeal of his clay flavour, his trademark blues and greys, the way his bases are elevated and executed with absolute precision, the seemingly classical, timetested presence that brims from his minimal silhouettes, that are unmistakable for any other artist, and which have not changed throughout the years.