Akiko Hirai was born in Shizuoka, Japan in 1970. Immigrating to the UK, she studied at the University of Westminster (2000–02) and later transitioned to Central Saint Martins (UAL), graduating in 2003. Hirai's work draws heavily on her Japanese heritage, particularly the tradition of allowing the clay to guide the creative process. Her creations, characterised by the <em>kohiki </em> method and a play on imperfections, invite engagement and contemplation, bridging the gap between the artist's inner world and the viewer's imagination.
Ceramicist Akiko Hirai was born in Shizuoka, Japan in 1970. She initially studied cognitive psychology at Aichi Gakuin University in Nagoya, Japan (1989–93). Despite her academic achievements, Hirai felt a pull towards a different form of expression that eventually led her to ceramics. Hirai's first visit to England in 1996 was to study English, but it became a pivotal moment in her life. She was captivated by English culture and multicultural society in London, which contrasted sharply with her experiences in Japan. This cultural awakening made her aware of her own cultural influences and visual perceptions, steering her towards a path she had not previously considered. During her stay, Hirai volunteered at a homeless shelter, an experience that, while challenging, exposed her to a diversity of people and situations that further enriched her understanding of human nature. The tactile pleasure of working with clay became a form of relaxation and self-expression, leading her to take her first steps into the world of pottery. Without formal instruction, she began to explore her creativity through the material, discovering a profound connection. Hirai returned to Japan briefly before relocating to England in 1999, a move that marked the beginning of her commitment to ceramics. She began her training under the guidance of British potter of Jamaican descent, Chris Bramble, at his private studio. She subsequently pursued formal education at the University of Westminster (2000–02) and later graduated from Central Saint Martins (UAL) in 2003. This educational journey was not just about mastering the craft but also about finding her voice as an artist, with London's vibrant art scene and multicultural environment providing a rich backdrop for her creativity. From 2005–15, she taught at Kensington and Chelsea College, where she ultimately became Head of the Ceramics Department.
Hirai's work draws heavily on her Japanese heritage, particularly the tradition of allowing the clay to guide the creation process. Her approach is deeply personal, reflecting her introspective nature and her fascination with the inner versus the outer self. This duality is evident in her use of materials and techniques, such as the kohiki method, where dark clay bodies are covered with a white slip to create a layered, organic appearance. Further engaging the viewer's imagination, she creates a light-dark dichotomy in her surface decoration and intentionally disrupts the symmetry of her work by removing chunks of clay, inviting viewers to mentally fill in the gaps. Her work is characterised by imperfections and asymmetry, mirroring the complexities of human nature and inviting viewers to engage with her pieces on a personal level. She has observed ‘My work is like people; something is hidden underneath [the surface]. You can actually see through to the darkness underneath, and that is quite ambiguous, and you can imagine all sorts of things from that layering’ (Cabe 2018).
The inspiration for Hirai's ceramics comes from a profound appreciation for the beauty of functional objects and their interaction with people. She believes that the true value of her work is revealed through use, whether it is a plate holding food or a vase filled with flowers. This interaction completes the artistic process, bringing the objects alive with personal significance. Hirai's process involves rapid, rhythmic carving, avoiding mechanical regularity to maintain a dynamic energy in her work. She employs techniques that echo the Kamakura-bori tradition of wood carving, adding depth and texture to her pieces. This approach, combined with her innovative use of glazing and firing, creates ceramics that are not just objects, but stories encapsulated in clay. Hirai's moon jars (examples in the V&A and Fitzwilliam Museum) are a profound exploration of imperfection and beauty, deeply inspired by the Korean moon jar that once belonged to potters, Bernard Leach and Lucie Rie. This historical piece, with its irregular landscape and evident wear, resonates deeply with Hirai. In crafting her moon jars, she employs a technique that combines throwing the bottom half and coiling the upper, pushing the clay to its limits to capture 'the moment before collapse.' Each jar is a rediscovery, embodying 'something ambiguous, unsettled and imaginative’ (Fitzwilliam Museum).
Hirai was shortlisted for the LOEWE craft prize 2019. Recent solo exhibitions include Goldmark Gallery, Uppingham (2023 and 2022) and The Scottish Gallery, Edinburgh (2023) She has participated in group shows including Pioneering Women, Oxford Ceramics Gallery (2021), Vital Clay (with Dan Kelly) at Hauser & Wirth (2023-24) and The Art of the Potter: Ceramics and Sculpture from 1930 to Now, The Hepworth Wakefield (2023–24). In the UK public domain, her work is represented collections of the Victoria and Albert Museum, London; Fitzwilliam Museum, Cambridge; and The Hepworth Wakefield.
Consult items in the Ben Uri archive related to [Akiko Hirai ]
Publications related to [Akiko Hirai ] in the Ben Uri Library