[ Craft x Tech Lecture Series Vol.5] “Tsugaru Nuri x Ini Archibong” @Kudan house

Craft x Tech is an initiative to bridge the gap between traditional Japanese craft and contemporary technology. Our goal is to create a novel and unique body of artworks that express both the history and future potential of these beautiful materials and techniques. With this in mind, we have selected a group of designers and artists whose work we respect and admire and who we believe will bring new and meaningful insights to these centuries-old master crafts traditions. For its inaugural edition, 6 traditional crafts from 6 prefectures of the Tohoku region and 6 designers/creators collaborated. Furthermore, as part of this project, the participating creators and craftsmen are invited to hold a special lecture series.

For the fifth lecture, we invited Kenichi Ishioka from Ishioka Kogei Co, and industrial designer, Ini Archibong. Ishioka gave a lecture on the history of Tsugaru Nuri (Tsugaru lacquerware) and its challenges, and Ini explained his art projects. Both showed a huge passion for their collaboration and explained how the project proceeded.

*Tsugaru Nuri is traditional lacquerware produced in the Tsugaru region and has been known as Tsugaru Nuri since 1873. The technique used in Tsugaru Nuri is a method in which layers of lacquer are applied and then polished to a smooth surface to create a pattern.This the repetitive process produces a complex and beautiful lacquer pattern and a sturdy, solid feel to the touch.

Lecture by Kenichi Ishioka

Kenichi Ishioka
Chairman of the Aomori Lacquerware Cooperative Association Union. President of Ishioka Kougei LLC.
Tsugaru lacquerware, with a history dating back 400 years since the Edo period. At Ishioka Kougei, we are committed to producing Tsugaru lacquerware that suits modern lifestyles, preserving tradition while creating new innovations. We aim to receive recognition for Tsugaru lacquerware's traditional techniques internationally.

History of Tsugaru Nuri

Tsugaru Nuri is a lacquerware produced in the Tsugaru region, centred on Hirosaki City, Aomori Prefecture. Its history dates back to the 17th century. It is said to have originated when Tsugaru Nobumasa (1646-1710), the fourth lord of the Hirosaki domain, gathered lacquer craftsmen in Hirosaki who were contracted to produce armory and daily necessities.

Tsugaru Nuri has four techniques. The first is “kara-nuri,” in which a spatula with holes is used to create a mottled pattern of lacquer, which is then coated with coloured lacquer and polished out to create a vividly coloured pattern. The second type, “nanako-nuri,” uses rapeseed to create a small ring pattern, which is then coated with coloured lacquer before being polished. The result is a chic design in the style of a small pattern. The third is “monsha-nuri”. The name “monsha” comes from its resemblance to a gauze, a textile with a pattern woven into it. The pattern is drawn in black lacquer, followed by sprinkling the entire surface with charcoal powder, and then polished. The black lacquer pattern emerges on a low gloss black ground, creating a modern atmosphere. The fourth, “nishiki-nuri ” decorates the item with classic arabesque and gauze patterns painted on a nanako-nuri ground, giving it a glamorous and elegant look.

The rough flow of production begins with scraping the lacquer, shaping the wood, and creating the undercoat. After that, the actual lacquer is applied and polished. In the case of kara-nuri, the total number of processes, from urushi scraping to glazing, is as many as 48.

Challenges and Sales Expansion of Tsugaru Nuri

The challenge is that Tsugaru Nuri sales are declining and more and more people are quitting the industry. Some people do not want their sons to succeed them because their products will not sell well from now on. The bursting of the bubble economy certainly had an impact, but I believe that the failure to nurture successors is also the cause.

After consulting with others in the industry on how to recover sales, we came to the conclusion that we should consider expanding our business overseas. Therefore, I took charge of the project and worked with a designer to create new Tsugaru Nuri products, which were exhibited at the Milano Salone in Italy in 2017. At that time, I also went to Milan to explain the product to customers, but since I was completely ignorant about overseas sales channel development, it ended before I even knew what it had led to.

The next year, 2018, we exhibited at Maison & Objet in France. At this time, we were able to conduct business meetings with several companies and returned home with the idea that we could introduce Tsugaru Nuri to the world. However, expanding B2B business was still difficult. When it comes to business, we were confronted with severe problems such as cost reduction. In the meantime, we lost communication with them, and they did not respond to our calls at all, so things did not go well at that time either. This exhibition reminded us that in order to expand overseas, we must strike while the iron is hot, and we must move the project forward while the communication between us is active.

Towards New Tsugaru Nuri

The failure of our efforts to expand our overseas sales channels led us to realise that we had to do something new for the Japanese domestic market as well. After much consideration, we developed a bowl with a camouflage pattern, which won first prize at the National Lacquer Ware Exhibition. This is a product that is still being produced as a popular item. The fashion brand BEAMS saw this and contacted us to develop a product using this camouflage pattern, and the result was this black watch-patterned Tsugaru Nuri. At first, I declined, thinking that this would be a huge amount of work, but as we discussed it, I gradually became more and more interested in trying it out. After repeated trial and error, the pattern was completed, and BEAMS was convinced that we could sell it, so we commercialized it and it almost sold out. We realized that this kind of collaboration has great PR potential.

On collaborating with Ini Archibong

Based on these experiences, I applied for this project as I was very attracted to the idea of working with a designer to expand overseas. Ini-san is a very friendly person, and I could tell that he was fascinated by Tsugaru Nuri during our conversation, so I had a feeling that we would be able to create something good with him. By inviting the craftsmen to our discussions and showing the production site, we were able to show him the process of making Tsugaru Nuri.

During the production process, we were a little worried that it was sometimes difficult to decide on a design or pattern. As expected of Ini-san, however, when the design plan, the pattern and the painting process was decided, what would normally have taken four or five months was completed in about one and a half months. The work is on display here.

We are very happy to have been able to work with Ini-san to introduce a new Tsugaru Nuri, and we are grateful to have had the opportunity to participate in this project. We believe that if we can successfully combine collaboration and overseas development in this way, we will be able to spread Tsugaru Nuri throughout the world.

Lecture by Ini Archibong

Ini Archibong
Designer / Artist. His works have been exhibited globally at design events and in galleries including the Victoria & Albert Museum in London, Museo Bagatti Valsecchi in Milan, Dallas Museum of Art, and the High Museum of Art in Atlanta, amongst others and has experience working with leading brands such as Hermès and Knoll.

Creating Narratives and Exploring Materials

I think the most important thing is to create a single narrative.
This mask represents the myth of children who have been dispersed due to diaspora but now come together once again. My role in this story is to venture out into the world, encounter different cultures, wonderful crafts, and the best skilled artisans to create a work that will remain a historically significant expression of the spirituality of children who have been separated. For this piece, working with artisans in Venice, Italy, who have been making glassware for generations, allowed me to make the most of their knowledge of glass.

I believe it is important to explore materials conceptually and formally. I also emphasize working with unusual materials. For example, when I created a table using obsidian—volcanic glass—for the legs, it helped push the boundaries of how I perceive materials. In another piece, I carved the stone geometrically and mechanically, but my goal was to give the impression that the stone had been eroded by nature. Each was a one-time attempt, and once finished, they will be set aside and cataloged for use later.

When creating my work, I cherish the inspiration of the unknown speaking to me. Again, something spoke to me about working with Tsugaru-nuri craftsmen in Aomori and connecting with the techniques they have inherited.

Importance of Interaction

Other than that, I place a high value on interaction. When an object has an interactive aspect, it can turn an observer into a participant. It can change the dynamics of what is an object or what is a design. It can add energy to the space and excite the viewer.

This piece is called Theoracle, and it is the first piece I have created that immerses you in an interactive experience. When you touch the sculpture on the stage, the sounds playing in the room change. Rotating the sculpture in the center of the room changes the ripples in the pool in front of it, creating a variety of ripples.

Through the production of this work, I met Hideki, and he helped me in the realisation of this work. It is the same for the realisation of this work “Artifact #VII” that is displayed here. Not only did I find it interesting that our collaborative project was transformed into such an unexpected direction, but I am very grateful that our friendship and mutual respect led me to come to Japan this time to explore Japanese culture.

Recent Work

One day I was working in my workshop in Milan with the intention of making a lamp, and the overall shape of the lamp suddenly came to me one morning. When a craftsman asked me, “What are we going to make today?” and handed me a piece of chalk, I naturally drew the shape on the floor. I have been making this shape for about four years now. This was a very important moment in my experience, because I was able to free myself from the constraints of architecture and industrial design. I used to have to redraw many blueprints and draw a hundred sketches before I could get a finished product, but now I can just let ideas come to me in a flash and give shape to them.

The table exhibited in New York last month reflects the rigor and precision that I used to do, but I felt there was a certain coldness to it: something was missing. I want to bring life into them, and rather than making something designed and created, I want to make something that is naturally there, like a stone I accidentally find while digging in the garden, something that you can sense the warmth of people.

About the collaboration with Tsugaru Nuri

I have studied industrial design, fine art, and music, and the sound sculpture I made for this project is the result of these backgrounds.
To explain this project, what attracted me to Ishioka-san’s work and Tsugaru Nuri was the balance between precision and refinement, yet at the same time the organised chaos and organically structured patterns that exist. The production process is repeated, but never the same even if you do it forever. And it is done in a very natural way, but at the same time very controlled. I have seen their work in the workshop and they repeated the same thing over and over again. I felt it like meditation. The quality of the craft, as if it were taken directly from within you, really has a very high level of spirituality. When you stand in front of such a very high level of craft and the person who made it, I think that person is communicating with something on the other side. So, as a metaphor, I included a synthesizer in the piece I made this time. When you approach it, you can experience the energy of the work as sound.

I am truly grateful to Ishioka-san and Hideki for this opportunity. In fact, my younger brother also accompanied me on this trip, and I am grateful to him as well. He has been learning Japanese since he was a child, which made this project much smoother. Visiting Japan with my brother, who understands and respects Japanese culture, allowed us to have more in-depth discussions and to introduce ourselves to the people of Aomori and their centuries-old craft. And hopefully we could make something together that is important for the rest of the world.

[Event Details]
Date: 25 May, 2024  
Venue: Kudan House
	1-15-9 Kudan Kita, Chiyoda-ku, Tokyo
Speakers: Kenichi Ishioka and Ini Archibong