古からある色と技法だけを用いて、重ねるとグラデーションになるように仕上げた12枚のプレート。
日本に住む私たちは四季の移ろいに包まれて暮らしています。さらに一日の中でも曙、暁、黄昏、夕というような移ろいの時間の表情は実に豊かです。私の育った奈良も、今、住んでいる京都東山の裾もあわいの坩堝というような色彩に溢れています。元々色は大好きで、特にあわいの色に惹かれます。でも漆に携わる者として、色の究極は朱と黒のように思うのです。そこで、朱と黒をめぐってグラデーションを作ることを思い立ちました。漆は色に質感が加わります。ひったりと吸い付くような面からざらざらとした肌まで、また艶も多様です。水銀朱の粒子一つ一つが滲むような光もあれば、硬質の漆が磨かれることによってぴかっと光る艶もある。漆の黒は、黒の上に幾度も褐色の漆をしみこませて磨いていく度に、より黒が深く黒になっていくという、それを見た者にしかわからない何とも不思議な世界なのです。黒がより黒へ。闇が濃くなるように。玄(くろ)と呼ばれることもあります。そんな不思議な漆の世界の色と質感を味わってほしい、そのような思いが『襲』になりました。

技法：
金沃懸地、銀沃懸地、朱漆摺り上げ、朱漆塗りたて、黒蝋色磨き、黒漆塗りたて、石目仕上げ
φ250mm×H235mm

This piece consisting of 12 plates is made only with traditionally available methods and hues. As in the title, the stacked plates compose a color gradation.
In Japan, we are surrounded by the constantly changing seasons. Even during the day, nature’s expression beginning from dawn, daybreak, sunset, twilight… is rich and diverse. I have long loved color and been especially interested in mid-tone hues. Nara, where I grew up and at the foot of Higashiyama in Kyoto where I live, is a melting pot of “mid-tones” bursting with vividness. Living with Urushi, I consider vermillion and black as the opposite extreme hues. In this piece, I composed a gradation of hues between vermillion and black.
In addition to color, Urushi possesses various textures ranging from rough to wet and slick. Furthermore, the gloss has its variations too. The intense glow from the particles of cinnabar, and the flashy glare of polished hard Urushi. The black of Urushi also becomes more profound with each additional rubbing and polishing in of raw Urushi which is naturally a translucent brown color. This mystical transformation of black into a more vibrant black, a darker darkness, cannot be made into words. It is only apprehendable by seeing in person. Sometimes, this black is called Kuro (玄: a homonym of 黒;the noun/adjective for black color. 玄 implies a deeper concept of mysterious elegance in addition to being an noun/adjective for black color). I wish to convey the fascinating colors and texture of Urushi with this piece.
Size: φ250mm×H235mm

2018 Prize at Tableware Festival 2018
2019 Chairman’s Award at 50th Kyo-sikki Exibition
2019 Prize at Craft NEXT2019

Technique: Kin/Gin-ikakeji (thick coating of gold/silver powder on lacquer), Shuurushi-suriage (translucent lacquer rubbed in vermillion laqcuer), Kuro-roiromigaki (polished black lacquer), Shinnuri (black lacquer), Ishime-shiage (fine wrinkled finish), Urumiurushi-nuri (mixed vermillion/black lacquer), Shudame-urushinuri (vermillion lacquer with translucent overcoat)

Zelvova, Japanese Urushi lacquer,Japanese paper, Tonoko, gold/silver powder, vermillion charcoal powder