Shun Kumagai - April 26'

Interview: April 26'

Q1, We have had the pleasure of introducing Shun Kumagai’s works through group exhibitions since the early days of our gallery, and his fan base has been steadily growing overseas, including in New Zealand.
About two years ago, we reached out to him, and we are truly delighted that this long-awaited opportunity has come to fruition in the form of his first solo exhibition with us (and possibly his first solo exhibition overseas). Could you tell us about any particular focus or thoughts you had while creating this collection?

Although this is not my first solo exhibition overseas, it is the first time I have had the opportunity to stay for such an extended period (two weeks), experience the local culture, and directly feel the reactions of visitors.
As I worked on this exhibition, my mind was already traveling back and forth between New Zealand and Japan.

For this exhibition, based on a request from the gallery owner, Yuka, I focused particularly on form. I aimed for shapes that are simple in structure yet evoke a sense of ancient continuity, classical forms that feel connected to the distant past.
I am excited to see how the inspiration I’ve drawn from my own world will resonate with the land in the gallery space.

Q2, Your works possess a brilliance and weight that evoke a sense of romance, as if they have traveled from a distant era or another world. As viewers look at your pieces, they seem to layer their own imagination and stories onto them, almost as if being guided into another dimension. It also seems that the final sanding process significantly changes the expression of the work. Could you tell us what you value most during your creative process?

In fact, I rarely perform the final polishing step that is typical in casting techniques.
I simply remove the “sprue” (the part necessary for pouring the glass into the mold, which becomes unnecessary after completion) and smooth out any sharp or dangerous edges. At that point, I consider the work complete.

I feel that in my works, the raw and pure surface that emerges directly from the mold is already in its finished state, so I rarely make further alterations afterward.
When I think about glass casting, I see it as glass melting inside a high-temperature kiln, flowing into the mold, and fusing with different materials like clay and metal in unpredictable ways to form the final shape. My role is to prepare an environment where this process can occur safely and naturally, and then entrust the rest to the material—glass itself.

Q3, Could you tell us about the time and process through which you established your current unique style? Also, where do you usually draw inspiration from?

A style close to what I have now was already established about 20 years ago when I was a student studying glass art. At the time, my technical skills were still limited, so I could only create small works, and I experienced many failures. Rather than being driven by a strong initial inspiration, I felt a strong need to create something different from the many glass works that had already been presented. As a result, I found myself moving in the opposite direction of the mainstream at the time, which led to the development of my current style.

I have many sources of inspiration, but one of the earliest and most memorable images is “a piece of wood being buried in the sand on a beach.”
While watching that scene, I intuitively felt that “we are constantly born, die, and are buried within the ongoing movement of the Earth, blending together in that cycle.”
This led me to want to create works where materials like glass, clay, and metal coexist and merge together.

Q4, We imagine you lead a very busy life with solo exhibitions and art fairs in Japan. With many fans overseas as well, how do you maintain your health and balance while continuing your creative activities?

In my 30s, making work was everything. Now, at 42, I feel that I want to incorporate what I gain from experiences outside of making into my work.
At the beginning of each year, I set a goal and work toward it—this helps me refresh my mind and maintain my physical condition.

Last year’s goal was to get a motorcycle license. I attended a driving school for several months and successfully obtained it. When I feel stuck, I take a ride and enjoy the wind—it’s a great way to reset.

This year’s goal is to complete a full marathon. I go out for training runs before my family wakes up, and I feel that this has a positive effect on both my body and mind.

Q5, You use the lost-wax technique to create molds. Could you share an episode about a particularly complex form or a work that holds special meaning for you? Also, are there any forms or expressions you would like to explore in the future?

A few years ago, I stayed for about two weeks at a glass studio in Toyama Prefecture, where I used to live, and focused entirely on creating work.
Normally, my work and daily life are gently intertwined, but I wanted to experience creating in an environment where I was separated from my family and fully focused.

The vase I created there, about 50 cm tall, allowed me to challenge myself beyond my usual limits in terms of size, and it became a very meaningful piece.

In the future, regardless of size, I want to place even greater emphasis on fine details—such as where a vessel meets the ground or how the rim is finished.
In Japan, we say “God resides in the details,” and I want to pursue that level of care even in parts that may not be immediately visible.

Q6, The vivid colors and expressions created in the kiln through the fusion of recycled glass and metal are very striking. The moment when you break the mold and encounter the finished work must be deeply moving and motivating for your next creation. Are these colors and expressions controlled to some extent, or are they largely the result of chance? Also, is there a particular process you enjoy most?

As I mentioned earlier, I can anticipate the colors and patterns to some extent. However, rather than wanting to fully control them, I think of it as preparing an environment where such phenomena can occur and offering that to the materials.

If everything is left to chance, the work risks becoming irresponsible. On the other hand, completely controlled production can become uninteresting.
I aim to create works that strike the right balance between these two extremes.

The process where I can confirm this balance is when I break the mold.
Carefully tapping the mold so as not to damage the glass, and discovering the surface and whether the piece has succeeded—that moment is incredibly exciting.

Q7, As you continue to expand your presence overseas, is there a central theme or idea that you consistently wish to express through your work?

People sometimes say that my works look like ancient glass. While I appreciate that, I want to create something that only I, in this moment in 2026, can make.
I want to honestly reflect what I feel now—my surroundings, landscapes, and daily life—into my work.

Q8, Are there any artists or personal heroes who have influenced you?

My grandfather, who had just turned 100, passed away recently.
He was born in the rural countryside of Akita and devoted his life to dairy farming and agriculture. He was so gentle that I never once saw him get angry. When I saw his body, it looked strong and beautiful, like an ancient tree rooted in the land. At that moment, I felt that I too want to become someone who, like him, is deeply connected to the earth and can express the joy of living through my work.

Q9, Is there anything new you would like to challenge yourself with in the future?

I may soon acquire a pottery wheel. I’m excited about the possibility of creating something new with it though I don’t have any concrete plans yet.

Q10, Finally, could you share a message for the audience who will visit this exhibition?

I live in Akita Prefecture in Japan, a very cold region where winter lasts about one-third of the year.
Akita also has the shortest daylight hours in Japan, so it is often cloudy. In winter especially, the landscape becomes a world of snow gray, white, and black as far as the eye can see. My works are born from this environment. The winter scenery, like a world after death; the vibrant green emerging from melting snow in spring; the explosive blue of the fleeting summer; and the red of trees withering in autumn, all of these strongly remind me of what it means to be alive and serve as inspiration for my work. I am very much looking forward to visiting New Zealand for the first time.

I wonder how my glass will respond to the light there, which must be completely different from what I experience now, and how people in New Zealand will perceive my work. Thinking about these things fills me with excitement.

Please come and see both the works and me in person.

Thank you so much, Shun for your time.