Continuing in this rich vein, Pouyan’s ceramic pieces function as “sculptures of thoughts.” Among the works showcased in his first exhibition in Tokyo, pieces like “Cross Maze” and “Maze Tower” delve into the intriguing question of how light navigates internal space. With deft craftsmanship, Pouyan has ingeniously incorporated a concealed maze structure within the architectural form. In the artist’s envisioned scenario, external light enters through a small window and embarks on a journey through this hidden labyrinth. As a metaphor for the post-truth age, Pouyan sees how light disappears in the “black box”, just like how reality is lost in the labyrinth of politics. Pouyan’s new series, which features a small window, represents a cyclops to him: observing the outer world yet lost in doubts.

Pouyan integrates mirrors and custom-built plinths into his sculptures for the first time. The mirror serves a multifaceted role: it offers viewers a glimpse into the concealed maze while amplifying the sense of depth and illusion. Complemented by unique plinths tailored for each individual work, the sculptures defy their role as mere pieces on a conventional stand. They actively interact with the surrounding space, transforming our perception of the space.

Pouyan seeks to breathe new life into historic elements within the contemporary ceramic world. For example, the glazed drips and stains featured in his work are inspired by techniques and styles prevalent in 12th-century Kashan, Iran.

In contrast to the artist’s main works, which often engage with political issues, “The First Brick” stands out as an inviting piece, full of latent possibilities. Architectural elements are the central visual motif and language in Pouyan’s work, given their intersection with history, society, power, culture and solid factors. The humble brick or simple clay structure was commonly used for the first man-built home in different civilisations. It is, in fact, the foundation of relationships and societal frameworks. Shapour Pouyan recalls this historical meaning of clay by creating “The First Brick” and inviting collectors to request extensions to this initial piece.

In addition to the ceramic sculptures, the exhibition also features an ‘erased’ painting that depicts a historical rock carving in Iran, representing a potent king and politician from 1,800 years ago. Meticulously detailed, the drawing was deliberately erased upon completion. This act highlights the transient nature of political authority and fleeting human impact, leaving only faint traces on the blank paper.