Artist Statement: This work is made by lacquering each part of a commercially available plastic model one by one and assembling it at the end. For each unit, 144 parts need to be lacquered and  total of 1,440 parts for the series of 10 pieces are layered with 3 to 5 lacquer coatings each. Although this way of painting lacquer and the number of times are common, each is a unique piece as identified by the serial number from 0 to 9 using old Chinese numerals which is put in the right shoulder with gold maki-e. Han numerals are “零” , “壱” , “弐” , “参” , “肆” , “伍” , “陸” , “柒” , “捌” , “玖” respectively. I made the series of 10 pieces at the same time and this took seven months to complete.

 
The message that I would like to convey through this work is the power that Urushi (Japanese lacquer) has, which is “to strengthen the image”. The value of Urushi is not only that the crafts are brought about by precision craftsmanship, but also the unique characteristic of the surface of Urushi itself is to strengthen the image of the painted object. The character of this animation also has an intense image, but it does not exist in reality. I thought to make it real by applying Urushi to this non-existent “image”. In Japan, Urushi is understood in the context of crafts, and there is a tendency to emphasize the artistic skills of craftsmen and the artist’s own aesthetic sense, but I am more interested in the strength of the material image of Urushi itself. That is what I would like to convey as the true appeal of Urushi.

 
Through this work, there was also a desire to be able to convey the appeal of Urushi, especially to those who are not normally interested in lacquer work and those overseas. Currently, Japan relies on importing 98% of lacquer and the lacquer industry cannot be said to be thriving. Also, due to aging of craftsmen who work with lacquer and the lack of successors, the industry itself is on the verge of disappearing. It is obvious that if this situation continues, it will not be possible to repair not only the crafts but even the cultural assets of the country. In addition to promoting arts and crafts, we need to create a new Urushi culture. I had it in my mind to alert many more people about the crisis situation of the lacquer craft in Japan in making this piece.

This work is now in the permanent collection of The Metropolitan Museum of Art, New York and Canadian Museum of History, Quebec.

Photo: Kenji Toki