Hold me close, a grain at a time

In his book “Gendai Shisou Nyumon ” (2022, Kodansha Gendai Shinsho), Masaya Chiba, a philosopher and professor at Ritsumeikan University, explains that French philosopher Gilles Deleuze (1925-1995), in one of his most important earlier books “Difference and Repetition” (2010, translated by Osamu Zaitsu, Kawade Bunko), suggests the idea that “the world is created from differences.” Deleuze critiques fundamental thinkers in Western philosophical history such as Nietzsche and Plato, who shaped the contemporary norm of prioritization of identity, and even takes his critique as far back as pre-philosophical activities. He argues that within the dichotomy of “identity/difference,” identity does exist as principle, but only secondarily– as a temporary state generated out of difference.

From the modern era until the present, humans have often believed that identity rather than difference is at the heart of being, and have continued to use this binary to reinforce its importance. In “Difference and Repetition,” Deleuze states that if “difference” is a necessary premise for shaping the world, then the “identity/difference” dichotomy does not hold up. He opposes “difference,” a characteristic of the individual, to the whole that it is outside of, deconstructing this dichotomous structure. However if, as Deleuze says, “difference” precedes “identity,” then “normal” is a concept that is created post-facto and is not universal to humankind, but can change depending on the society and the times. Furthermore, in the disciplined society after the modern era, this understanding of “normality” causes problem-consciousness to become invisible in the majority mindset, birthing thoughtlessness.

Kawai’s works question us about the “normal” that arises in the gulf between “difference” and “identity”. Kawai’s works, which he purposefully calls containers, do indeed have holes at the top, and their shapes suggest a sense of everydayness, lulling the viewer into familiarity. However, at the same time, the unique colors and grotesque forms give our viewing experience a firm visual jolt. Kawai’s works hang in a state of suspension through their rejection of labels and refusal to be organized into categories or genres, creating a middle ground that is not anywhere and escaping the dichotomous structure of “identity/difference” that society has created.

Many ceramic artists from previous generations have said that when they work with clay, a form naturally takes shape. Kawai deeply shares this attitude of yielding oneself to the clay. As Kawai explains of his creative process, “Clay is a material that can communicate through form due to its plasticity, and can be a medium that embodies the inner self.” Kawai also mentions that it is impossible to completely control the firing process. His approach is steady and simple, seemingly the opposite of the pop phrases “90s” and “Shibuya”. While searching through his own memories, emotions, and intimately personal starting points, he molds and tints the clay, fires it towards the image of the completed work in mind, and sometimes, he fails; and then he repeats this process over and over again. In this exhibition, “the 90’s” and “Shibuya” are the keywords that serve as the point of connection between the artist and audience. These keywords and their numerous corresponding images will function as the starting point for us to discover the depth of Kawai’s pieces, or perhaps even find an entirely new perspective from which to view his work. We look forward to welcoming you to the show.