Neo Jomon: Green Mask (2024), glazed ceramic, 35 3/8 x 30 1/4 x 28 3/4 inches. Photos by Grace Dodds. All images courtesy of the artist and Ross + Kramer, Gallery, New York, shared with permissionWhimsical Ceramic Sculptures by En Iwamura Evoke Ancient Traditions and Childlike CuriosityFebruary 6, 2025ArtKate MothesIn Japanese philosophy, the concept of Ma emphasizes the relationships between time and space and how moments, intervals, and distance provide the basis for how we experience the world around us. Derived from the word Ma, or , which translates to pause or gap, the idea of negative space is viewed as a fundamental element of art and architecture.For En Iwamura, who lives and works near Kyoto, working from the perspective of Ma forms a significant tenet of his sculpture practice (previously). He examines scale, the sense of ones surroundings, and comfort in proximity to others. People constantly read and measure different Ma between themselves, and finding the proper or comfortable Ma between people or places can provide a specific relationship at a given moment, the artist says in a statement.Neo Jomon: Black/White Mask (2024), glazed ceramic, 38 1/4 x 34 5/8 x 29 1/2 inchesIn Mask, Iwamuras solo exhibitionRoss+Kramer Gallery, he delves into the cultural, conceptual, and symbolic significance of the titular objects. Drawing on childhood memories of visiting the National Museum of Ethnology in Osaka, where he saw masks from around the world, the artist evokes the sense of mystery he felt upon viewing the works and curiosity about their origins.Masks have been used for centuries in cultures all around the globe, predominantly associated with religious ceremonies, funerary customs, festivals, dramatic performances, and other rituals of social importance. We don masks to protect us from inclement weather or to provide a layer of safety in certain sports or recreational activities. In 2020, the mask took on a new significance in the global effort to prevent the spread of coronavirus.Iwamuras playful, gentle, sometimes wistful ceramic sculptures reference the historical nature of masks while reflecting their role in our contemporary world. A driving force behind this collection of work is a reconnection to child-like senses of curiosity, wonderment, and creativity, says an exhibition statement.In this exhibition, Iwamura presents numerous sculptures from his ongoing Neo Jomon series, drawing on details characterizing earthenware of the ancient Jmon culture, which existed in what is modern-day Japan from around 14,000 to 300 B.C.E. The name literally means cord-marking after a style of pottery scholars attribute to the period.Neo Jomon: Mask and Eyes (2024), glazed ceramic, 31 7/8 x 31 7/8 x 28 inchesSoft forms complement vibrant hues and a variety of textures in Iwamuras sculptures, which range in size from a little over a foot tall to more than five feet. To achieve these intricate surfaces, the artist allows his hand-built forms to air dry slightly before drawing various tools across the surface of the clay, the gallery says. The textures recall rake-like patterns of Buddhist Zen gardens and cord-marking, a technique of pressing a twisted cord into wet clay.While serving as a meditation on parenthood, this series is also an encouragement to reunite with ones inner child, the gallery says. Mask continues through March 26 in New York City. Find more on the artists website and Instagram.Neo Jomon: Red Mask (2024), glazed ceramic, 46 x 46 1/2 x 31 1/8 inchesNeo Jomon: Stacking Neighbor (2024), glazed ceramic, 20 1/8 x 7 7/8 x 7 7/8 inchesNeo Jomon: Pink Mask (Beret) (2024), glazed ceramic, 36 x 40 x 7 1/4 inchesNeo Jomon: Stacking Neighbor (2024), glazed ceramic, 16 7/8 x 11 3/4 x 11 3/4 inchesNeo Jomon: Black Mask (Crack) (2024), glazed ceramic and gold, 31 x 31 x 9 inchesNeo Jomon: Stacking Neighbor (2024), glazed ceramic, 15 x 9 7/8 x 6 3/4 inchesNeo Jomon: Blue Mask (2024), glazed ceramic and gold, 23 x 36 x 14 5/8 inchesNext article