“Things that are completely perfect and things that are completely broken appear to be in two opposite conditions, yet two conditions are the same concept as a form of completion. There is no movement in these two conditions.
The waxing and the waning moon contain an expectation of completion whether it is going to be the start or the end. We are seeing the moon at the same time we are seeing our perception of time or whatever it is, we see something progressing.
To some my work may appear to be imperfect because perfection contains only one message which is clearly defined by the maker. My attempt is to create the condition of progress in my work. Something ambiguous, unsettled and imaginative so that the user of my work sees many different aspects from the object.”
“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. The hints of the true nature of the material appear slightly on the surface. Dark clay which consists of many impurities induces strong chemical changes in heat and the trace of events remains under the veil when it cools down. White, on the other hand, is more stable because of its purity. It is already settled and has a feeling of “stillness”.
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. Imagination and fantasy always reinforce the imperfection and achieve the perfection with its own originality.
Therefore the completion of my work is done by the viewers. My work is a creation on its own.”
Akiko Hirai: Sake Bottle
Akiko Hirai: Dobin
Akiko Hirai: Mug Black
Akiko Hirai: Newt Plate
Akiko Hirai: Mizutamari
Akiko Hirai: Komochi