“When I travel in Japan, even without a shared language, I can sense through their eyes whether someone is genuine. This connection is what I share with Jun.” Last month, British ceramicist Steve Harrison showcased his exhibition, Last Supper, in Hong Kong, coinciding with Japanese designer Jun Takahashi’s Peaceable Kingdom, where Takahashi also participated. In this artistic dialogue, communication transcends words, allowing audiences to experience the pure essence of the creator through their work.
“I began collecting Steve’s work around 2000. The items I choose, like coffee mugs and bowls, are functional and selected based on my mood. I can’t fully articulate what I adore about them—perhaps it’s their imperfect shapes or the subtle, twisted details that resonate with me. It’s pure affection.” Beyond cups and plates, Takahashi has seamlessly integrated Harrison’s Degas Table into his life. “Because I frequently use Steve’s works, the two bronze lamps I designed for Last Supper—Meditation Apple and Pinkman—pair beautifully with his ceramics.” Though they pursue different creative paths, they discovered a serendipitous connection. Takahashi didn’t aim to mirror Harrison’s style; instead, he highlighted signature elements from his own work, such as the Anarchy Chair and the Pinkman lamp sculpture. The Pinkman, depicted holding a lamp, also appears in the painting Poison Apples, creating a compelling link between the two exhibitions. This dark yet stylish design injects fresh energy into the solemnity of Last Supper.
Mom’s House, 2015-2024
Lost Cloud, 2024
Music profoundly influences Takahashi, and the exhibition’s title draws inspiration from the “Godmother of Punk” Patti Smith’s song Peaceable Kingdom. “Even though music is part of my life, I don’t listen to it while I paint. For me, painting is a meditative practice.” He describes his daily drive to his studio in Hayama—a journey of one hour and twenty minutes—during which he curates a Spotify playlist called Kosmik Musik to share his musical inspirations. Glimpses of his studio from past interviews reveal a sanctuary nestled in nature, filled with exquisite furniture and decor, with only a small corner dedicated to painting. “My painting space is only as wide as I can stretch my arms. Even large works are completed in this compact area.” He gestures to a corner of the gallery, illustrating how he immerses himself, pouring his emotions and imagination onto the canvas.
“After my first solo exhibition in Tokyo last year, I was invited by WKM Galleryto exhibit in Hong Kong. For me, Hong Kong is a comforting place. I visit often and have many friends here, so I gladly accepted the invitation.” Takahashi shares that since deciding to hold this exhibition, he has painted almost every day without interruption, focusing solely on his art rather than leisure. “We agreed on how many pieces the space would need, so I calculated how many I had to paint each month, chasing deadlines for the past year,” he laughs. While his approach may seem goal-oriented, he is always guided by intuition. “Whether in fashion with UNDERCOVER or in painting, I’ve never set specific goals. I simply follow my mood and the direction I feel drawn to.” Unlike fashion, which requires consideration of the wearer, colors, and fabrics—a complex collaborative process—painting is a more intimate expression. Sitting in front of the canvas is like having the most honest and vulnerable conversation with oneself.
Future Days, Lost Children, 2024
Future Days, War with Now, 2024
Although the works in Peaceable Kingdom were completed in a short time, they represent the culmination of Takahashi’s life experiences. The exhibition poster features Lonely Man, a striking portrait with erased eyes, surrounded by apples and clouds, perfectly embodying Takahashi’s style. Initially, he envisioned Poison Apples as the exhibition’s key visual, with the figure of Pinkman representing the purest inner emotions and thoughts. The contrasting blue and red symbolize dualities and inner struggles, yet the work maintains an undercurrent of peace and hope. Beyond the fashion world, Takahashi presents his meticulously constructed universe in a purer form, exploring the depths of the human spirit between beauty and absurdity. Through his art, he reminds us that even amidst chaos and darkness, hope and joy remain ever-present. “People have different facets—sometimes painful, sometimes struggling—but I truly consider myself an optimistic person,” he smiles.
Elizabeth, 2024
Peaceable Kingdom by Jun Takahashi
Period: 25 Oct – 14 Dec 2024 Time: 11am-7pm | Tue to Sat Venue: WKM Gallery, 20/F, Coda Designer Centre, 62 Wong Chuk Hang Road, Hong Kong
