Shinichi YAMAMURA

The year 2026 has been marked by significant challenges, including earthquakes and erratic weather patterns both in Japan and abroad, alongside economic instability and logistical disruptions. Consequently, I had anticipated a substantial decline in the number of entries compared to previous years. I was, however, pleasantly surprised by the remarkable response: a total of 215 entries from ten nations and regions, including 65 from overseas—a testament to the enduring appeal of this exhibition.

A notable characteristic of this year’s submissions was the scarcity of similar works; instead, we saw a vast diversity of styles. Both the Art and Design categories featured uniquely themed pieces, making comparative evaluation exceptionally difficult. Indeed, the final stage of the Final Assessment required intense and rigorous deliberation.

The Grand Prize was awarded to Shingo MURAMOTO for his work, Edaha – Meguru II– (Wing of Foliage -Circle of Life II-). The piece features hemp cloth and Urushi surfaces stretched over a high-tension bamboo frame, creating a masterful three-dimensional space. It was highly commended for its powerful sculptural form born from that very tension. It is a work that beautifully captures the impermanence of all things in nature, expressed through the vibrant energy of a young artist.

This trend toward diversity was also prominent among the 65 entries in the international category. In the Design category, the Silver Prize was awarded to ASA, a collaboration between Nicolas PINON, Dimitry HLINKA, and Kenji TOKI from France. Its unique surface composition was highly regarded, offering a glimpse into the truly international character of this competition.

A total of 14 awards were presented, including one Grand Prize, two Gold Prizes, two Silver Prizes, two Honorable Mentions, and seven Jurors’ Special Prizes. It is rare for a competition to see such a wide demographic of winners in terms of both age and gender. In fields like Urushi craft, where techniques are passed down from antiquity, award winners have often trended towards the older generation; it is, therefore, heartening to see such a broad generational spread this year.

The Ishikawa International Urushi Exhibition 2026 was a competition rich in diversity. I sincerely hope that the potent energy of this highly original spirit will serve as the driving force for a new world of Urushi, leading the way for the next generation of contemporary crafts.

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