Artist En Iwamura urges removing the 'Mask' to reconnect with one's inner child

Crafted or manifested as conduits to the sacred and enigmatic, masks are often seen as emblems of mystery, concealment, transformation and identity. From the intricate faces of deities and demons in Indian religious rituals to the masks donned by superheroes in DC and Marvel films, symbolising power or anonymity, these objects are reinterpreted across cultures and creative expressions, embodying functional registers of concealment, decoration and revelation.

Japanese artist En Iwamura harnesses this layered symbolism in his sixth solo exhibition at the Ross + Kramer gallery in New York, with his fresh series of ceramic art. "I believe that the background and role of masks in different historical contexts has changed in terms of shape and use…In creating the modern mask, I tried to incorporate my own understanding and metaphors to imagine how masks would have existed for people 1,000 years from now. I also wanted to see a space filled with such thoughtful, 'eerie' masks floating in it," Iwamura tells STIR, about his ongoing show titled Mask, which is on display from January 30 – March 22, 2025.

In today's post-pandemic landscape, masks have acquired new layers of meaning, from being a tool of protection to a metaphor for modern digital communication. Iwamura's work channels the ancient ethos of masks while simultaneously engaging with its contemporary concerns, both creative and otherwise. In the show, his clay art invites visitors to perceive the 'mask' not only as an ornamental or ritualistic artefact but as a dynamic medium for personal and collective transformation—a mirror reflecting our heritage and present-day struggles with identity and intimacy.

The art exhibition showcases over 20 ceramic sculptures, including some of Iwamura's first wall-hanging ones, in a compelling exploration of the mask's multifaceted role across cultures and eras. With whimsical yet precise craftsmanship, Iwamura’s sculptural art evokes the tactile pleasure of discovery and the playful spontaneity of childhood. At the same time, the intricate surfaces and vibrant hues of these displayed masks summon memories of primaeval rituals and modern reinvention. "A driving force behind this collection of work is a reconnection to child-like senses of curiosity, wonderment and creativity," the contemporary artist mentions in an official statement, inviting viewers to witness art as both a serious meditation and an act of joy.

Iwamura's creative journey began in Osaka, where, as a child, he was mesmerised by the extensive mask display at the National Museum of Ethnology which featured relics from Africa, Asia and Latin America, igniting his fascination with the anthropomorphic forms. Without the confines of rigid sketches or predetermined plans, Iwamura approaches his medium with a singular spontaneity. "I have no sketch or plans before the making. [I] prepare the clay and jump on it," he shares.

As layers of clay accumulate, outlines and volumes emerge in an almost serendipitous manner. "That’s the most fun part for me…With the unfamiliar forms, I observe carefully and start to find the line I am interested in. Once I find some character of the form, I start making face based on it," he adds. This process, which Iwamura describes as "three-dimensional ceramic doodling in the space", is an exploration of form and a contemplation on the essence of play. It is a poignant reminder that beneath the fine craftsmanship lies the unbridled creativity of one's inner child.

The ceramicist meticulously integrates textures reminiscent of Buddhist Zen gardens and the ancient cord-marked pottery of Japan's Jōmon culture in his Neo Jomon: Stacking neighbor series, which is also displayed at the exhibition. "This series was born from observing his son getting to know the world through play. Much like stacked toys, these ceramic sculptures consist of two parts that fit together in dynamic ways to create a whole," the gallery mentions in the press release.

Iwamura's method of allowing hand-built clay to air dry slightly before rendering elaborate, rake-like patterns transforms each sculptural design into a dialogue between the past and present. The resulting, visually arresting works feature the artist's characteristic use of "distinct vibrancy of glaze, softness of form, and coarseness of texture". Neo Jomon represents analogies for modern life, where the oversaturated, digital age often forces one to communicate behind metaphorical masks, obscuring true expression and connection.

Mask entices viewers to strip away their pseudo-masks and reconnect with their inner child while shedding the weight of overthinking and rediscovering the simplicity and joy of creative play. "Sometimes, I think too much and my hand gets too heavy. I try to remember to just focus and enjoy the process at the moment," the ceramic artist reflects. With Mask, the experience he creates challenges the audience to engage with art in its most playful, profound and transformative disposition.

Looking ahead, Iwamura envisions expanding his artistic influence beyond the commercial sphere to the institutional art scene and public art projects. In a poignant ambition to reconnect with his roots and share his journey with his family and friends, the sculpture artist confides, "I would like to have my exhibition in Japan and invite them for opening. This is my dream."

En Iwamura's 'Mask' is on view from January 30 – March 22, 2025, at the Ross + Kramer Gallery at 515 W 27th Street, New York, USA.