En Iwamura “Glances and Echoes” Exhibition at Almine Rech Gallery, Shanghai

On the 25th of October Japanese artist En Iwamura inaugurated his first solo show “Glances and Echoes” at Almine Rech Gallery, Shanghai, on view until the 28th of December 2024. We had the privilege of attending the opening and the honour of engaging in a conversation with the artist himself. In this issue, we will introduce his artworks and feature an exclusive interview.

adf-web-magazine-world-of-en-Iwamura-6

Glances and Echoes, En Iwamura, Almine Rech Gallery, ph. Amedeo Martines, October 2024

Born in Kyoto in 1988, En Iwamura studied Crafts at the Kanazawa College of Art in Japan and later at Clemson University in the United States. During his academic journey, he developed the idea of ceramics as a universal language that transcends cultural boundaries. His artistic practice now spans painting, drawing, and, most notably, ceramic sculpture. Iwamura's ceramic pieces are hand-built in stoneware using the coiling technique. These creations often reach impressive sizes, making a striking impact through the layering of vibrant and colorful glazes.

Under the name Neo-Jomon, En Iwamura's artworks bridge the past and present, blending elements of Japan's ancient archaeological heritage with contemporary influences. His work draws particular inspiration from ancient Japanese handcrafted pottery, such as the Dogu figurines of the Jomon era (14,000–300 BC) and the Haniwa statuettes of the Kofun period (300–538 AD). Despite their ancient origins, these artifacts appear surprisingly contemporary, characterized by essential forms, intricate decoration, and hollowed-out eyes and mouths. Furthermore, his influences include fantastical worlds, monsters from children's books, and icons such as Mega Man, Gundam, and American superheroes. These characters have shaped his imagination and daily life since childhood. By juxtaposing ancient features with themes, colours, and subjects inspired by pop culture, En Iwamura creates a new personal archaeology rooted in the contemporary.

adf-web-magazine-world-of-en-Iwamura-8

Neo-Jomon: Prince of the Underground, 2024, En Iwamura, Almine Rech Gallery, ph. Amedeo Martines, October 2024

The sculptures displayed at Almine Rech Gallery varied in size, flowing seamlessly throughout three main spaces. With its two meters tall, “Neo Jomon: Prince of the Underground” is the most massive sculpture of the show. This piece, made from weathered steel, welcomes visitors as they enter the gallery. To the right, a collection of ten small works from the “Neo Jomon: Stacking Neighbor” series is arranged on plinths of varying heights. Each sculpture features two interlocking vessels resembling heads and bodies, with distinctive color combinations. In a separate space to the left of the gallery, a composition of six medium to large sculptures interacts with a collection of watercolors displayed on the surrounding walls. Although each artwork has a unique appearance with bold color gradients, their collective presence is harmonious and dynamic, thanks to the interplay of differing features and scales.

adf-web-magazine-world-of-en-Iwamura-1

Neo-Jomon: Stacking Neighbor, En Iwamura, Almine Rech Gallery, ph. Amedeo Martines, October 2024

The importance of space arrangement and the balance between elements is crucial for En Iwamura. The artist often references Ma, a Japanese concept that signifies the negative space between things, also represented as the relationship between a person and their environment at a given moment. While this idea can be challenging to articulate in words, it becomes evident and clear when standing in a gallery filled with Iwamura’s artworks. These pieces seem to shape the space, bend time, and confront your sense of presence within the work’s existence. We believe that what imbues Iwamura’s artworks with such power is also the amount of time and effort the artist put into his creations. Ceramics is a craft that permits no shortcuts. The artist has to follow specific procedures and phases, as well as establish a relationship together with the material in order to produce a successful piece. This experience is then tangible and ultimately infused in each final artwork.

adf-web-magazine-world-of-en-Iwamura-3

Overview, Almine Rech Gallery, ph. Amedeo Martines, October 2024

adf-web-magazine-world-of-en-Iwamura-5

Neo-Jomon: Green Boy, En Iwamura, Almine Rech Gallery, ph. Amedeo Martines, October 2024

During our interview, En Iwamura expanded on these concepts, giving us insights of his career, experiences and approaches of working with ceramics. Below you can find the integral transcript of our conversation:

ADF: How has your creative practice and approach to ceramic sculpture evolved over the years? Are there particular moments or shifts in your practice that stand out to you?

En Iwamura: My introduction to ceramics happened by chance. During my bachelor in Japan, I initially intended to study painting but I was instead placed in the Crafts major. There, I explored a variety of materials: wood, metal, raku-ware, and ceramics. What captivated me about ceramics was something my teacher said: ceramics can exist everywhere in the world. That idea resonated with me, as it framed ceramics as a universal language for connecting with people and different cultures.

In Japan, my ceramics studies focused on history, techniques, and materials. Later, when I moved to the U.S., I encountered a different perspective. During my first critique, my professor asked about the concept behind my work, a question I couldn’t answer at the time. Until then, I had believed that technical skill alone was enough to create good art. From that moment, I began reflecting on who I am and why I create, looking beyond technicalities and delving into the meaning behind my work.

This shift transformed my practice and completely reshaped my approach to ceramics and art.

adf-web-magazine-world-of-en-Iwamura-4

Neo-Jomon: Blue Fantome (Detail), En Iwamura, Almine Rech Gallery, ph. Amedeo Martines, October 2024

ADF: Have there been any lessons or insights from the practice of other artists that have shaped your approach and the way you work today?

En Iwamura: The most valuable lessons I’ve learned come from my parents, both painters, who showed me the wonders of art as a realm of endless possibilities and joy. Their studio and gallery openings became my playground, immersing me in the creativity and passion that shaped their work.

Later, Jun Kaneko, a renowned Japanese ceramic artist based in the US, became my main inspiration. His ability to create monumental ceramic sculptures was something I wanted to pursue. On a whim, I emailed him, not expecting a reply, but he responded and invited me to visit.

That trip changed my life. I traveled to the US without knowing the language, just driven by curiosity. Jun welcomed me into his home for a week, introduced me to artists, museums, concerts, and films, and even cooked dinner for me daily. He shared his insights and showed me what it means to be a great artist. He became my mentor, giving me a vision of the artist I aspire to be. His encouragement also inspired me to study in the US later on.

ADF: In a fast-paced, increasingly digitized world, how do you see the balance between traditional, hands-on practices like working with clay and the influence of digital tools? How does this duality shape your creative process?

En Iwamura: For me, working with clay is intuitive and immediate; nothing stands between me and the material. In contrast, creating digitally with a keyboard, computer, or tablet slows me down and influences my creative process. Clay allows me to work seamlessly at the height of my inspiration.

That said, the digital world is invaluable. It exposes us to endless information: images, videos, and texts, providing fresh inspiration. It’s up to us to process and filter this flow. My work embodies this duality, blending ancient traditions with the contemporary world, a coexistence made possible by the digital age.

Growing up in Kyoto, a city where history and modernity coexist, surely shaped this perspective. For instance, seeing a thousand-year-old soba shop next to an arcade store felt completely natural, and playing video games surrounded by centuries of history was an ordinary part of my childhood. Today, this juxtaposition of past and present is embedded in my work, shaping both its concepts and physical form.

ADF: How do you approach the creative process when starting a new project? Is there a particular practice or mindset that helps you overcome moments of creative block or uncertainty?

En Iwamura: It might sound strange, but I always feel a sense of creative block, yet I’ve learned to move past it. Instead of overthinking, I focus on the process, immersing myself in the act of making and enjoying the journey. Often, when I finish a piece, I find myself asking, What did I just create?

My approach is like 3D doodling: I create for the joy of it, following my instincts and letting the material guide me as it moves in my hands. Only after the work is complete do I step back and reflect critically on what I’ve made.

adf-web-magazine-world-of-en-Iwamura-2

Neo-Jomon: Prince of the Underground (Detail), En Iwamura, Almine Rech Gallery, ph. Amedeo Martines, October 2024

ADF: Do you ever turn down projects or requests that dont feel right to you? How do you protect the integrity of your practice with the increasing demands of the market?

En Iwamura: often want to say yes to everything, but balancing family life and working with a gallery means I have to prioritize. Collaborating with a gallery at this stage in my career provides a sense of security. It keeps everyone informed and helps me navigate the art world, which is often closely tied to the business world, protecting me from potential scams.

My goal is to create meaningful work and embrace diverse experiences, but I can’t afford poor business decisions, so I’ve learned to be selective. In the past, I had negative experiences with people who deceived me, but those challenges became valuable lessons that now guide my approach to both art and business.

ADF: The relationship between your art and the space it inhabits is central to your work. When creating a new piece, do you consider how it will interact with the architecture or the environment?

En Iwamura: When I create a new artwork, I visualize it within an imaginary gallery, arranging the space piece by piece as if curating a living environment. My experience working as a Japanese gardener deeply influenced how I think about space.

Many people assume Japanese gardens are designed with a perfect plan in advance, but that’s rarely the case. During my internship, I learnt about rock placement. I remember my boss asking me to position big stones one by one, using rods, ropes, and a lot of strength. At first, his instructions seemed random, but I soon realized there was an underlying logic. Each rock, tree, and feature is beautiful on its own, but it’s the relationships and balance between them that transform a space into something greater.

Similarly, when arranging my work in an exhibition, I don’t follow a strict plan. Instead, I respond directly to the space, considering how the artworks interact with one another and how the audience will experience them, just like designing a Japanese garden. For me, each artwork is like a stone, individually significant but ultimately contributing to a larger, balanced whole.

adf-web-magazine-world-of-en-Iwamura-7

Neo-Jomon: Stacking Neighbor, En Iwamura, Almine Rech Gallery, ph. Amedeo Martines, October 2024

ADF: What advice would you offer to young artists starting their careers today, especially in an era where art and design are so globally connected and digitally driven?

En Iwamura: I see myself as an artist at the beginning of his career, but my advice would be to go out, explore, and experience the world. While the internet provides access to endless information, it allows you to understand things only to a certain degree. To truly grow, you have to step outside your comfort zone: travel, immerse yourself in different cultures, and connect with people through real conversations.

Social media can be a helpful tool for building your image as an artist, but it’s not the most important thing. What truly matters is creating work that resonates not only through a screen.

adf-web-magazine-world-of-en-Iwamura-9

Interview with En Iwamura, 6 December 2024

In conclusion, Iwamura's artworks are contemporary archaeological artefacts quietly waiting to be discovered and interpreted. With their void-like vessel bodies and humorous expressions, they seem to bridge the past and present, inviting viewers into moments of introspection. Our experience at the exhibition, together with his reflections, makes us closer to his modus operandi: To make artworks able to transcend cultural boundaries and function as a timeless, universal language.