Title: "AMATERASU" ― A Prayer for Peace and Resonance with Isamu Noguchi
This work embodies my consistent theme of "Opposition to War" – a profound message for peace.
A major reason for my deep respect towards artists of the same generation as Ms Jakucho Setouchi is that they dedicated their lives to upholding and expressing their conviction against war. The resolute will of these predecessors who endured harsh times guides my creative endeavours and forms the root of the wish embodied in this "AMATERASU". This work was installed in the tranquil space at the rear of the front lobby of the former Hyakumangoku Umebachitei in Yamashiro Onsen. It was not created for a specific commission; rather, it is a piece where I, as an artist, gave form to my inner feelings, and through serendipity, it found its place here. There, it realised a collaboration with the lighting piece 'Akari' by the world-renowned sculptor Isamu Noguchi. The architect responsible for the spatial design selected Noguchi's 'Akari' to complement my work. What delighted and honoured me most was how deeply they understood the prayer for peace and the creative intent within my piece, harmonising the form of lacquer with the soft light.
Reflecting on it, my own artistic origins lie there too. Though I graduated from Tokyo University of the Arts, my graduation project was also strongly inspired by Isamu Noguchi, leading me to choose an expression combining lacquer and 'stone'. Time has passed, and I feel profound emotion at being able to collaborate with his spirit once more in this way. The radiance of 'AMATERASU' floating within the jet-black lacquer, harmonising with the 'akari' illuminating the feet. I hope that space delivered a quiet prayer for peace to the hearts of those who visited.
The season of graduation exhibitions brings to mind Isamu Noguchi and his connection with stone
2026-02-11T13:30
It is currently the season for art university graduation exhibitions.
This occurred just before my graduation work was to be displayed at the Tokyo Metropolitan Art Museum. Having visited the 'Isamu Noguchi Exhibition: Light and Stone' in Yurakucho, I was profoundly struck by the overwhelming spatial design created by light and stone – something entirely different from any art exhibition I had experienced before.
Still reeling from that experience, I became convinced that "stone alone must form the foundation of my work." Yet the exhibition was imminent. It was a sudden impulse, but I consulted my lacquer department teacher, knowing it was a tall order. He managed to arrange for some splendid stone from the sculpture department. The fact that my thanks at the time amounted to two sake "Kenbishi " is now a fond, quintessentially Geidai memory.
Only recently did I learn that the architect responsible for that venue's design was Arata Isozaki.
When I lived in Ōita, I often visited the Ōita Prefectural Library (now Art Plaza), designed by him. It feels strangely connected.
My graduation project was completed through the spirit of Mr Noguchi, the spatial vision of Mr Isozaki, and the support of my teachers from both the Lacquer and Sculpture departments. You can view the work from that time here.
Lacquerware in the Film Princess Mononoke
2026-03-01T13:30
This time, I shall discuss the connection between a famous animated film and lacquer.
Recently, I watched the DVD of Princess Mononoke. The film depicts how humans should live alongside nature.
In the film, pay attention to the scenes in the protagonist Ashitaka's homeland. In Ashitaka's village, lacquer is applied to buildings and large pots. On the other hand, let us observe the dining scene at another location called the Tatara site. People were eating from bowls made of plain wood, uncoated with lacquer. This difference in depiction is quite intriguing. From this, we can understand that Ashitaka's homeland, the Tōhoku region, was a “village of lacquer”.
In Iwate Prefecture, where the Ezo wars took place, there is a place called Ninohe City. Even today, Ninohe City has many lacquer trees grow. It is a representative production area for the domestic lacquer I use. The artisans who make their living from lacquer tree sap also face many challenges. Cultivating the trees, harvesting the sap, and reviving the forest. Even from the film's detailed depictions, the history and culture of Japanese lacquer come through. Next time you watch the film, do pay attention to the Japanese lacquer there too.
The Ultimate Precision Born from Resilience: The Dry Lacquer Cylindrical Bowl
2026-04-02T14:30
I would like to introduce a piece that captured the attention of many visitors at last year’s exhibition at Takashimaya. It is a cylindrical bowl crafted using the "Kanshitsu" (dry lacquer) technique.
This particular work is etched with a certain frustration that remains an unforgettable turning point in my career as an artist.
A Turning Point: The Cancelled Commission
This project began when I was told, "I would like to purchase this bowl if you could add a lid to it." When using the same meticulous technique as the bowl itself, a one-year production period for a lid is actually quite short.
Nevertheless, I prioritized this request and accelerated my work to meet the expectation.
However, when I finally presented the completed piece, the order was cancelled. The frustration I felt at that moment was beyond words.
However, that experience ignited a fire within me. I decided then that I would no longer create "a lid for someone else," but instead craft the "ultimate lid"—one that I could be truly satisfied with. From that point, I spent several more years in a cycle of trial and error. My bold motivation was simple: "I want to achieve a precision that surpasses even that of Living National Treasures." The source of that ambition lies in the setback I tasted that day.
9,000 Years of History and Modern Determination
The lacquer used in this piece has a unique significance.
The sap is harvested from traditional lacquer trees in the region that served as the model for the Emishi village in the film "Princess Mononoke."
This precious resin, carrying the ancient life force of the forest, reveals a deep and translucent beauty as each layer is applied. Guided by the inherent power of the material, I painstakingly repeated the delicate work.
It has been approximately 9,000 years since humans first began using lacquer. By employing these ancient materials and techniques over several years, I finally achieved a "seamless fit" (Aiguchi) where the joint is invisible to the naked eye. When visitors at the gallery remarked, "I cannot even tell where the lid meets the bowl," that old frustration finally transformed into true confidence as an artist.
The Integrity of Silence
I entered the world of lacquer from a background completely unrelated to the craft. Since graduating from Tokyo University of the Arts and establishing myself as a lacquer artist, I have made it a point not to disclose my specific production processes.
I believe that if an artist wishes to take on such a challenge, they should discover the way through their own thought and effort. I felt a deep sense of empathy and encouragement when I saw a television program mentioning that Shohei Ohtani of the Dodgers does not easily share his training secrets with his peers.
I choose not to explain the process. No matter the hardships endured during its creation, the finished work simply exists in silence and beauty. That is my pride as a lacquer artist. The finished piece speaks for itself. I hope you can feel the intersection where 9,000 years of tradition meet the unwavering determination of a modern artist.
