Kanjiro Moriyama: End of The World Supernova II, 2020
The idyllic kiln site of Koishiwara is a traditional Mingei folk pottery, tucked away from view in the gentle foothills of Kyushu. Yet it is from this sleepy locale that the riveting abstract sculptures of Kanjiro Moriyama (1984- ) are borne, an artist who embraces the clay of his hometown, yet perhaps surprisingly, a penchant for the avant-garde. There is a purity to his lines and curves, a visceral elegance that speaks volumes of the nature of the artist himself. Much like his work, the youthful Moriyama is a juxtaposition of many elements; at once starry-eyed and innocent, yet possessing a sculptural confidence beyond his years; extraordinarily humble, yet brimming with almost defiantly vivacious silhouettes.
He is many things, and that is why Moriyama has quickly become one of the forerunners of a new generation of emerging artists affiliated with A Lighthouse called Kanata who effectively push the boundaries of their materials and techniques to new heights. In particular, Moriyama is a pioneer in taking the humble potter’s wheel, a tool predominantly used for the mass production of utilitarian forms, and turning it into a persuasive means for the creation of abstraction, essentially deconstructing the pots he throws into wildly oscillating silhouettes.
With soaring new works that seemingly defy gravity itself, Moriyama’s world view represents the spinning of the cosmos, of one world ending, another one coming to life, a never-ending odyssey in clay that brings us a step closer to the heavens.
Text by Wahei Aoyama, Owner, A Lighthouse called Kanata
Kanjiro Moriyama’s solo exhibition took place between November 27 – December 19, 2020, at A Lighthouse called Kanata, Tokyo