太田垣　實（おおたがき・まこと）
美術評論家・大阪成蹊大学芸術学部教授

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The Gate to Completion
− Works of KAWAMAMI Rikizo, a clay work artist−

by OTAGAKI Makoto
(art critic, professor of Faculty of Art, Osaka Seikei University)

　Near the entrance of the Shigaraki CeramicCulture Park Museum, you can see "The Gate

of the Wind −Cosmos −"(2006), the largest work representing the artistic activity of Mr.

KAWAKAMI Rikizo, a ceramic artist. It is a clay work composed of five jointed parts and has

the height of 3 meters and the width of 3 meters.

　The profoundness of dark brown "gate" makes you feel as if it were a part of remains.

　The museum is on the top of a small hill, where you can enjoy the view of the town of

Shigaraki, famous for its pottery. "The Gate of the Wind" seems to be the place where the

wind blowing through the Shigaraki town goes into space of eternity, and it also has the role

as the gate to the museum where they introduce both domestic and foreign contemporary

ceramic art.

　In 1998 he released his work titled "Gate" for the first time at the 50th anniversary exhibition

of SODEISHA, which had opened up the world of avant-garde ceramic art and played an

important part in contemporary ceramic art in Japan. The exhibition was the final one because

SODEISHA dissolved then.

　On that occasion Mr. KAWAKAMI exhibited "The Gate −Ends and Begins Again". What

occurred to him at the end of SODEISHA and hissolid decision for the new start encouraged him

to produce it, as he had been one of the second generation of SODEISHA, whose founders were

such ceramic artists as YAGI Kazuo and YAMADA Hikari.

　Born in a family dealing with furniture in Kyoto, he hated succeeding the business and chose

the world of ceramic art. Mr. FUNATSU Eiichi, his teacher, at high school made him interested

to produce it, as he had been one of the second generation of SODEISHA, whose founders were

such ceramic artists as YAGI Kazuo and YAMADA Hikari.　in clay work.

　After finishing school he learned not only the skill of traditional pottery, "Kyo-yaki" but the

tendency of free ceramic art and he and his company founded "MAGMA", a company of artists,

and then he became a member of SODEISHA in 1964. He also entered the world of craft and

got some awards. He was anxious to promote artistic exchange with Korea, when most of

ceramic artists had interest only in Western world. Thus, he showed his unique position in

the world of ceramic art.

　As for his ceramic expression, he determined a theme before production, which enables him

to release various series of works based on his criticism against vanity among the society and

his spirit of defiance. For example, A series of "Za" or "Seat" with a motif of "Chair", which

symbolizes power, shows you sense of transience.

　Also series of "Dan" or "Steps" shows you stairway between heaven and earth, life and

death, or different dimensions, and so on. He has been active, but at the same time, he

has taken things coolly, which enables him not to lose sight of what was important. That is how

he has accumulated his power and ability as anartist.

　Just after he began the series of "Gate", he became seriously ill and underwent the surgery

of brain artery. In spite of the fear of death in his life under medical treatment, he always tried to

be an artist and gradually he recovered.

"The Gate of the Wind −Cosmos −" was the largest one of the series "Gate". He produced it

at the "Artist in Residence" at the Shigaraki Ceramic Culture park museum, where he could

use a big kiln and heavy equipment freely. I was there and observed his production and I was

impressed by the wide range of his works as an artist of clay work and his technique that

enables him to build large-scale clay work.

　He also showed the possibilities and the depth of the pottery to young artist by making cups

from the same clay that he built the big "Gate" with various glaze and techniques.

　Pioneers of avant-garde ceramic art like YAGI Kazuo put philosophy and critical spirit into their

works, nevertheless their works did not have enough strength and scale for clay work. Mr.

KAWAKAMI tried to get over their weakness. In other words, it is the answer for the long-time

question that how he should add the huge bulk of the clay work to the power within the work

itself. Thus he succeeded in insisting the existence of his huge clay work, "The Gate of the

Wind −Cosmos −". It is inevitable that his career as a clay work artist has brought him to

"the Gate" series. He hasn't come straight here − sometimes making detours, and after going

through various turning points, there were gate which existed as a passing point in order to go

ahead to the next new world. Following the series "the Gate", he has recently produced a series of

clay work composed of circles and rings. They have something in common with "mu" or "nothing",

and interpretation of the cosmos in the world of Zen. These works are also the product of his

strong mind with which he keeps on being an artist going forward to completion.

translated by TSUMA Michiko

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