Phalanx represents the culmination of a sculptural series that began between 1989 and 1992, when Kakurezaki decisively departed from utilitarian Bizen ceramics. The early Phalanx works (presented most notably in the 1992 solo exhibition Red Phalanx at Nihombashi Mitsukoshi) drew on the imagery of Western armor and Japanese warrior helmets, emphasizing tension, symmetry, and a sense of protective structure. The exhibition was a landmark moment in contemporary Japanese ceramics, renowned for its explosive visual intensity, unprecedented public response, and lasting influence on sculptural approaches to clay.
Kakurezaki’s 2013 Phalanx is a profound evolution. While the silhouette still suggests a ceremonial helmet or headdress, recalling the tate-eboshi worn by Heian-period aristocrats, the geometry has softened into a more organic, abstract presence. Incised lines and ash-fired surfaces hint at shields and bodies without literal reference. No longer assertive or emblematic, the sculpture holds a quiet gravity, allowing form, surface, and space to remain unresolved and open.
