* Whole 9 pieces, 36 images 19.5 x 625.5cm

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Photo: Makoto Kosuga

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Publication: Shapes in Bamboo by Kazuaki Honma,
page 30, published by Niigata Nippo Jigyo Sha, 2003

The concept of the work is the form where light and shadow mingle. In Japan we have a beautiful word “komorebi” which means sunshine streaming through foliage. I have taken an interest in the outline of an object that is accentuated by backlighting, and the contrast of light and shadow that changes depending on the angle of the light. The method I use to create the work is casting. This work has five elements that are joined together, then covered with glaze and fired in the oven.

*Exhibited to The 8th Kikuchi Biennale, Musée Tomo, Tokyo

Fujitsuka is a fan of astronomy, chose bamboo art as the sort of work which he was able to complete by himself and control his own time. He became a disciple of Shodo Baba (1925-1996) in 1972. He notes that “Shodo Baba taught me to create my own original works without being influenced by other people”.
Fujitsuka, who proved very skillful with his hands, was admitted to the Kanagawa Prefecture Art exhibition only six months after beginning his studies in bamboo art. This was unusually fast because it is said that it normally takes three years simply to acquire the technique by which bamboo is split into strips.
This work, Sunrise Peak, uses the original technique that Fujitsuka has introduced from 2003. Each bamboo strip is cut to have a triangular shape, and then each surface is dyed with a different color. The overall shape and color of the work changes depending on the angle of the viewer. This is a work that combines the use of his unique technique with his perspectives of nature.
Fujitsuka’s works can be seen in the Agency for Cultural Affairs in Japan, the National Museum of Modern Art in Tokyo, the Japan Foundation, the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and other important museums and institutions around the world.

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Toki is an artist who creates without the boundary between tradition and innovation. This piece is made using Kanshitsu, a traditional method applying Urushi tree sap (natural lacquer) to the structure of hemp fibers. The resulting material is then laser-cut and the parts are connected using three-dimensional software and structures developed by Toki himself. It is beautifully composed of lacquer red and “lucky” pattern Shippomon

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Kizaki, who always wants to see his work convey a pleasant and bright feeling, says “I want to make a work that makes me feel happy”. Recently, he has wanted to express in his work emotions that are born from real-life experiences. In this piece, Kizaki imagines the feeling when he is touching a plant every day.

This work, “Dance” by Honda, expresses the moment that energy is being released.
Since his childhood, Honda has been interested in the whole of nature, while particularly loving creative activities such as drawing and craft.
Later he graduated from Oita bamboo craft training school and continued his study under the renowned bamboo artist, Niko Kadota (1907-1994).
When he became an independent artist, to begin with Honda was crafting exquisite but functional baskets.
From around 1999, he started to create art works inspired by his imagination using his techniques, and from then his talent quickly blossomed.

Honda’s work has now been added to the collections of important contemporary art collectors and several world famous museums such as the Metropolitan Museum of Art, the Museum of Fine Arts, Boston and the Art Institute of Chicago.

Tokuzo’s father, Shounsai Shono (1904-1974), was the first ever person to be designated as a living national treasure in bamboo art. He was the first artist to create sculptures using the beauty of bamboo. After graduating in the sculptural arts at Musashino Art University in 1964, Tokuzo became a student of his father Shounsai, and inherited the aesthetics and technique of Shounsai.
His technique is to select the bamboo from his own bamboo grove, then cut, dry and leach out the oil and sugar content by heating. The preparation takes more than two years before the bamboo can be used, taking advantage of natural processes. This work works well with the beauty of the bamboo material and the characteristics of its flexibility. If the direction of the wind changes, the form of any one piece of bamboo can change the way the artist will then use that piece.
The works of Tokuzo Shono are housed in the Victoria & Albert Museum, the Metropolitan Museum of Art, the Museums of Fine Arts, Boston.

This work, by Hideaki Honma, was completed in his third year as a full time artist with the goal of getting to the next level as an artist.
Using dyed Nemagaritake as a main structure frame, the work was created using 2 mm wide Madake strips going through the main structure.
Honma likes to take advantage of one of the key characteristics of bamboo, its strength. This has allowed him to create a dynamic work showing motion.
Honma, who lives in Sado Island, Niigata Prefecture, was born there in 1959.
He became a full time bamboo artist from 1987, having studied with Kazuaki Honma (1930-2017), his father. He saw very early success, being accepted for the Niigata Prefecture Exhibition in 1990.
Honma has been winning major awards since then. In 2014 and 2018 his work was featured in the most important competition at the Japan Fine Arts Exhibition and won the highest award (Tokusen) in the competition.
His work is now in the permanent collections of some of the most prestigious museums in the world, including the Metropolitan Museum of Art, the Museum of Fine Arts in Boston, the Art Institute of Chicago and others.

During an interview, Nishinaka said, “Actually I hate to smash the glasses I created with heart and soul, but to create something new, I need to destroy what I can create at this moment and I need to drive myself forward.” Nishinaka’s work is the way he lives.

Artist statement: I got the inspiration for this work when I saw a thick fog rising, as if it was a life form, from the mountain after dawn and early rain. I was trying to express the moment when the energy of nature is shaping a form, and show its flexibility and divine strength. 

When the beginning comes, the end comes. That is how all things are destined to be. To live is to die. The destiny of living things. Things change. There will be both development and decline. When you overcome trouble, the mother who finished her role is like a shell. In the long years to come, it evolves and changes slowly while witnessing the passing of time…

When the beginning comes, the end comes. That is how all things are destined to be. To live is to die. The destiny of living things. To live is to change. Even for 1 minute or 1 second, a figure may not stay the same. This work captures the moment of slow change and decay over a long time.

Hiruko (later, Ebisu) was the very first god which made an appearance in Japanese myths, but faded over time. After a long time, however, the myth revived and Hiruko was worshipped by people as the god of Ebisu in various legends. Taniguchi, interested in this myth, challenged himself to visualize the lucky god of Ebisu.

I am thinking of the old time when Japanese people found beauty in the fatal cracks on pottery. During the age of provincial wars, Samurai enjoyed tea in the middle of life or death fights. I often wonder what Samurai wanted to express by highlighting cracks with gold. With my own interpretation, I pursue the beauty of cracks based on the spirit of imperfect beauty. I smash the vase I have created and melt, then bond again. I express the blink of life with the fragility and strengths of glass.

The title “Sinru” literally means the flow of an organism. I consider “Organism” as a phenomenon that various molecules interact with together to form a life. I felt this phenomenon in the iron material during my creation and I tried to express this through the feature of linear formation. “Heart (Sin)” is coming out of the edge of organic feeling of human beings. This is also the base of this creation.

The title “Sinru” literally means the flow of an organism. I consider “Organism” as a phenomenon that various molecules interact with together to form a life. I felt this phenomenon in the iron material during my creation and I tried to express this through the feature of linear formation. “Heart (Sin)” is coming out of the edge of organic feeling of human beings. This is also the base of this creation.

The title “Sinru” literally means the flow of an organism. I consider “Organism” as a phenomenon that various molecules interact with together to form a life. I felt this phenomenon in the iron material during my creation and I tried to express this through the feature of linear formation. “Heart (Sin)” is coming out of the edge of organic feeling of human beings. This is also the base of this creation.

Tanoue says that Shell is the image of being born from an egg and the image of the source of life is the blue of the sea.

Tanoue says that Shell is the image of being born from an egg and the image of the source of life is the blue of the sea.

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Tanoue says that Shell is the image of being born from an egg and the image of the source of life is the blue of the sea.

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Tanoue says that Shell is the image of being born from an egg and the image of the source of life is the blue of the sea.

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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

It is a lucky pattern where circles are overlapping and connected. Kanji chinese character named Shippo is written as seven treasures, which is a Buddhist word that shows treasures such as gold, silver, pearls, agata, crystal, coral and lapis lazuli. It is a wish for family satisfaction and prosperity that such patterns should last forever.

This represents a refreshing breeze on a sunny Spring day, and is made in 0.4-0.5mm thickness bamboo strips.

The theme of this piece is the things that give a person comfort or warm the heart, such as kind words from someone special, the feeling that hard work has paid off, or having friends that you share everything with.

Kaneko explains that this work expresses “the steady state of living, which slowly continues to alternate since its birth and will continue to change.” A fascinating piece in which she expresses this state of changing, whilst using the medium of ceramics which will not change. Although the piece may seem fragile at first sight, Kaneko was successful in achieving steadiness as a piece while completing her own expression using well researched methods of numerous glazes and firings.

This work exemplifies the living state of a particle which came from a larger whole, and which then started to have its own mind.

Flower Bud was made right before Okada set off as an independent artist and left his mentor, Jin Morigami. The work exemplifies his mind at that time as though a flower petal is blooming. Flower Bud was awarded the Oita prefectural governor prize at Lifestyle with Bamboo Art Crafts Exhibition, 2016.

There are many drifting objects on the beachfront. Seashells, stones, driftwood and glass bottles. Something with a sense of life or mysterious shape. I wonder what story they followed until they got to that beach. I do not know what has happened to these things in the past, but for me they are valuable just as they are. My heart is excited by the nostalgic feeling like keeping track of memories and by a new form.

Kizaki has been playing in the nature surrounding him since he was a child, catching insects, catching fish, picking greeneries and planting around his house. He would like to express the purity, strength and beauty of nature, and this piece embodies the time when a flower bud is about to bloom.

The Japanese title Kanru symbolizes the inspiration that Tanaka had in creating this piece which is an image of a current returning to its source. It also echoes with his own experience in forging iron every day and seeking new directions in creation, and how it changes himself in the process.

Tanaka is expressing the natural organic substances that we see flowing using iron forging techniques with fire and hammer. The Japanese title of this piece “Hikumo” is from the word “Hi” = fire from the iron forging process and “Kumo” = cloud like floating substance or state. The sound of Hikumo also synchronizes with the sound and feel of this piece.

One bud came out in my garden. This bud seems full of conviction to complete its life without any doubts.
The strength and the beauty of this bud is the central motif of “Flower Bud Ⅱ”.

Ike expresses the strength of the spirit in this piece. Mononofu means samurai in medieval Japanese. Ike’s original technique of mixing “Yahazu” with wide bamboo strips creates space surrounded by an impression of samurai armor. This expresses the calm state of one’s mind, but could also be translated as the spiritual state of nothingness. The curved arch on the underside also shows the flexibility of bamboo.

This piece shows Ike’s aspiration to accumulate virtues and be of upstanding character. It uses both old and new techniques. The projections from the surface are made using an old technique called “Yahazu” but combining those projections together with wide bamboo strips is a new technical challenge.

After abundant research, Ike used straight thin Takehigo (bamboo strips) and created a lithe organic sculpture almost as though made by clay. The recent changes in life of the artist, who recently started a family, can also be found in the work.