Motomi KAWAKAMI

Recently, the Sogo Museum of Art in Yokohama hosted the exhibition “Artisans and Wajima-nuri —Wajima-nuri and Beyond—” to support the recovery from the Noto Peninsula Earthquake and heavy rain disasters. It was a comprehensive showcase, covering everything from raw materials and tools to production processes, finishing samples, and refined artisan skills. Observing this wide-ranging display reminded me of the pinnacle of culture and daily utility achieved by traditional Urushi arts today.

While seeking expressions that reflect tomorrow upon this foundation of tradition, we have seen a recent increase among younger artists in the use of new forming techniques. In addition to traditional lathes, these include kanshitsu (dry lacquer) using clay or plaster molds, mokutai (lacquerware with a wooden body), hot-wire processing of polystyrene, FRP molding, 3D printing, and CNC routers.

This competition is expected to broaden the recognition of Urushi—an ancient yet perpetually new material—through international exchange, fostering new lifestyle proposals and innovative sensibilities in form and art.

In this edition, the Silver Prize in the Design category was awarded to ASA, a stool created by a Japanese-French unit of three who are already actively engaged in Urushi-based collaboration. The stool possesses a simple and elegant form, utilizing a kanshitsu (dry lacquer) technique with honeycomb and hemp cloth as structural materials. It comes in two finishes—nuri-tate and roiro-shiage—with a nashiji (pear-skin) finish on the underside, resulting in a remarkably lightweight piece.

For the Motomi KAWAKAMI Prize, I selected Kanshitsu Rinka Mizusashi. It features a beautiful flat lid in the shape of a blooming flower with delicate folds along its ridges. This is complemented by the generous curves of the body and a nuri-tate finish that makes the most of its elegant luster. It is a dignified piece where meticulous attention has been paid to every detail, including the base.

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