Kenichi Sasakawa - Nov 25'

Q&A Kenichi Sasakawa 
 
 
1, When creating a work, is there anything you value in the process of arriving at a form that you consider "good / This is it"? Also, is it difficult for you to draw the line? Or is it not that difficult and you get a clear sense of satisfaction?

With glass making, I value finishing it in a short amount of time.
This is because the beauty of glass can be felt in the tension created from the inside when it is inflated while still soft, and the tension created when it is pulled and stretched and this beauty is lost if any corrections are made over time or with heat. The ultimate "good" is to complete all processes in the optimal and shortest possible time.

To do this, the proportions, thickness, and highlights of the piece must be decided in advance, it's essential to visualise it in concrete detail through drawings beforehand and it takes at least 100 attempts to create a piece before the ideal shape and process are determined.

For this reason, it is easier to draw the line with pieces with a lot of production experience, but more difficult with pieces with less.

With this artwork, it was important to determine whether it was a work of art or not. The difference between a simple failed vessel and a work of art is quite subtle, but there is a clear difference, and I spend the most effort determining whether I have crossed that line. Also, if you overdo it or not, the piece will be ruined as a work of art.
Cracks and breaks are somewhat targeted, but there is an element of chance, so you work while making split-second decisions about what to keep and how to move it, and then you have to judge again with a calm eye once it's finished. You may think that chance is an element of the work, but I would be happy if you could see that the items lined up here are arranged inevitably as a result of such decisions.

2, I’ve seen your sketching for your glassworks before when I read the interview article of yours at Crossing gallery in gifu, Japan (Our lovely agent) I was so amazed your drawing is as beautiful and delicate as your glass works. Were you always good at Art ? 

I have a strong memory of drawing with my mother all the time when I was little. During primary school one of my artworks was in a competition and selected to be sent to the sister school in Yugoslavia and this experience made me feel that one day I want to work in the creative industry. 

3, Looking at your recent sculptures, which have become larger and feature more delicate and intricate details, it's clear that you've continued to develop year after year, and I'm really looking forward to your upcoming exhibition at our company after three years.

When I saw this photo, I thought it was made using a mold, as if you had blown the glass into it, but I was surprised to hear that it was actually made using the moldless glassblowing method, where the glass is stretched and deformed while gradually adjusting it with heat. Your works are becoming increasingly more complex and this time we're only exhibiting sculptures, but please let me know if there are any forms or works you would like to try in the future.

(I'm not sure if I can call my work sculpture) I currently often reference classical vessel shapes, but I think I might move away from that a little as my interests change.

I'm not particularly interested in challenging myself with technical difficulties, and I don't think I'd want to be overly technical or decorative, but I do welcome the idea that mastering my technique can give rise to new ideas and expand the range of my creative possibilities, and I see this as a never-ending path.

As for referencing vessels, I felt that my way of understanding the characteristics of Japanese beauty (not only visually but also spiritually) was through them. I think this was a natural progression, given that glassblowing developed as a technique for making vessels and that I wanted to express something through that technique.

Vessels are used for eating, storage, ceremonies, and more, regardless of region or culture, and I believe they are a common denominator for all of humanity. When faced with the shape of a vessel, viewers will perceive the work against the backdrop of their own personal experiences, and I believe this leads to an understanding of the work and communication through it.

My desire to understand the characteristics of Japanese beauty comes from my background, but after working with and thinking about glass for a long time, my interests have shifted to something more familiar, and I am interested in the relationship between light and the emotions we feel when we perceive the outside world. This is because I have begun to feel that when thinking about expression through glass, the connection with light is inseparable, and that this influences the way I perceive the world.
Since I'm making glassblowing pieces, I don't think I'll deviate too much from the original shape. However, recently I've been drawing without visualizing the finished product, and I'm thinking about how to create pieces that are difficult to realize through glassblowing.

4, Do you have a particular tool that you like most?   

There is a tool called ‘Jack’, we use this tool in most of the glass making processes.
I have many kinds of these tools that I change by the size and style of work. My favourite one is one used for larger size of work, like making vessels. (attached the image below) This particular one is made by Mr. Antonio Dino from Murano, Italy. This is such an excellent tool because it doesn't make the user feel stress, you won’t be conscious of controlling it. This is a master class of tools. He is not making this tool and you can’t get it any more so it’s a treasure for me. 
 

 
5, Is there any routine that you like or dedicate to doing something special while you are working ? 

I need to keep a great tempo and rhyme when I work, so I take care where I place my tools around my workshop. 
I also set my phone to silent.. If I feel I've made many mistakes and mucked around then I stop working, clean the floor and read.  
 

6, Is there anything in particular that you do or research to inspire your work?  

I take my camera with me most of the time I go out, I usually take some pictures that come to mind, like lights between objects, shadows and some great architecture etc…   I feel there is some exquisite balance & connection among glass / light / pictures. 

I also like reading some physics or scientific type books, I feel these things have no intention and that links to my work. I try to avoid looking at any glasses.  

Interviewed in Oct 25'
Interviewed/Translated - Yuka O'Shannessy / Public Record 

Photo courtesy: Masami Kuromoto (Portlait & Studio shots) / Liz Clarkson / Masami Ono (Gallery shots)