Panel Discussion

Comments on the Jurors’ Special Prizes Winners (seven works)(4/7)

NATSUME(MC) ───── Next, the Teruko MITARAI Prize:Through the Layers – Wide by Elm NIIMI. Ms MITARAI, may we have your comments?

MITARAI ───── This kanshitsu (dry lacquer) work by Elm NIIMI was very prominent and captured my heart from the moment I entered the room. There is a dynamic movement characteristic of kanshitsu (dry lacquer), and the artist describes the decoration as “tracing the togi-yaburi (over-polishing to reveal the underlying layer of lacquer) with maki-e.” This match between dynamic boldness and delicate decoration is, I believe, a matter of pure talent.
One thing I felt this time overall was that there are many people with great talent, especially among the young. Mr MURATA’s work, which I commented on earlier, is another example. Talent can, of course, be developed through effort, but I believe some people are gifted. While some of it is innate, the things one has experienced also play a large role. This might not even be about art, but rather an accumulation of natural beauty, the way overlapping leaves filter the light, or the beauty of watching flowing water. I cannot know for sure, but I suspect it is an accumulation of such things.

However, I believe those with this gift have a responsibility. Someone once said that a person’s life is about how much they can fully develop the gifts they were given before they reach the end. In that sense, I truly hope that everyone, especially the young, will continue to refine their craft.

From a market perspective, the general public still knows surprisingly little about kanshitsu (dry lacquer). Many people still think lacquer is just something painted on wood. While kanshitsu (dry lacquer) is becoming the mainstream within the lacquer world, we must be mindful that this is not yet the case among the public, and I hope we will continue to develop it.

Ms NIIMI’s work is intended for the wall. New buildings and architecture are being constructed constantly. Particularly recently, architecture with a Japanese sensibility is gaining attention as Japan’s global presence grows. In such spaces, what is hung on the wall is often not traditional oil paintings or photographs, but these semi-sculptural pieces. However, attempting to make a sculpture in wood carving results in very heavy pieces that burden the structure. In that sense, I believe semi-sculptural kanshitsu (dry lacquer) is a methodology well worth watching. Please keep up the good work.

NATSUME(MC) ───── Thank you, Ms MITARAI. As the recipient of the MITARAI Prize, Ms NIIMI, is here, I would like to introduce her. Please, come forward. Congratulations. Could you share your thoughts or comments on this work?
NIIMI ───── My name is Elm NIIMI. Thank you very much for this award and for the kind critique. This is a wall-hanging kanshitsu (dry lacquer) work. Togi-yaburi (over-polishing to reveal the underlying layer of lacquer) is a phenomenon that all lacquer artists will recognize, and in this piece, I took that togi-yaburi and treated it as a design for decoration, tracing it with maki-e. In my previous works, I always decided on a pattern first and then drew it with maki-e, but for this piece, I wanted to be closer to the lacquer itself, to capture its natural phenomena through the act of maki-e. I am very happy that this challenge has been recognized with such an award. Thank you.

NATSUME(MC) ───── Thank you very much.