Lacquer

Using chisels and planes, Tohru Matsuzaki (b. 1944) carves the basic forms for his work from valuable blocks of solid zelkova or chestnut wood, finishing them in thick coatings of Japanese urushi lacquer. He creates forms that appear simple but are highly refined; the vermilion red lacquer evokes images of the Jomon period (ca 11000 BC - ca 300 BC).

These unique works can be said to embody the essence of the Japanese ‘Mingei' folk craft movement.

Yoshio Nishihata (b. 1958), realizing that the assembly-line production system of Japanese lacquering resulted in works lacking in heart and soul, decided to create his works with a single, integrated method; from kiji, the base material before lacquer application, until the finishing of the lacquer ware. As an ardent support of traditional arts, Nishihata continues to perfect the art of creating tsuzumi drum core, used in classic theater and other Japanese arts. 

Shinya Yamamura (b. 1960) is a lacquer artist who has mastered the mother-of-pearl inlay technique, raden. Appointed President of Kanazawa College of Art, Yamamura is inspired by the minuscule decorative elements of the pearlescent material. Each decoration is a meticulous process involving countless hand-cut abalone shells attached to the zelkova elm within polished layers of lacquer. Yamamura’s works are in collections worldwide, including the Victoria & Albert Museum in London, the Los Angeles County Museum of Art, and the 21st Century Museum of Contemporary Art in Kanazawa. Lacquer, mother-of-pearl, abalone shell, ivory, paper-thin pieces of shellfish, eggshell, powdered gold, silver or iron…the exquisite works are small enough to be held in the palm of one’s hand yet contain microcosms of precious materials.