Yoko Ichikawa - Nov 25'
Artist Interview Q&A
Yoko Ichikawa, Urushi, Leather
Shiga, Japan
MJC 25'
1. You majored in lacquer, 'Urushi-ware' at university. Can you share any stories about how you arrived at your goal of creating works that layer leather and harden it with lacquer(natural resin, Urushi) ? or what inspired you to start?
As a student, I created works showcasing curved surfaces made by simply hardening fabric with lacquer, as well as works focusing on the universal materials and utensils. My thoughts on hardening fibrous materials with lacquer and the shapes of tools for humans, led me to my current lacquer leather creations. Also, a three diminutional leather brooch given to me by my grandmother, who was skilled in handicrafts and sewing, was the direct catalyst for me to start working with lacquer leather, as I was struggling with the question of the base (support).
2. You studied Urushi-ware in Kyoto, Japan. It's a particularly profound and deeply rooted material in Japan, with a long history and ties to it. It has given birth to countless works of art from prehistoric times to the present day, and I believe it is a precious material that has traversed the world and connected the ages. What is the appeal of lacquerware to you?
From the time it was discovered by humans until the present day, the material known as lacquer/Urushi has met all kinds of needs. It can provide waterproofing, adhesion, decoration, repair, and a mirror finish.
I'm fascinated by the lacquer culture itself, the technique and wisdom that allows a liquid to flexibly transform and adapt to different uses through the communion between humans and nature.
Lacquer and its techniques also respond flexibly to my personal tastes and thoughts.
3. We've introduced Ichikawa's works on several occasions since our company was established five years ago. Her works are made from leather and lacquer, a rare materials here. However, over the years, Ichikawa's work has gradually become more well-known and his fan base has grown, so we decided to organize an exhibition at this time. We're looking forward to November. From the beginning of our acquaintance, you've been based in Kyoto, and have been involved in not only gallery crossing, but also other wonderful galleries and new initiatives, collaborating with high fashion companies and holding joint exhibitions with contemporary artists. You've helped to popularize crafts among the younger generation, connecting the next generation through your work. I've seen you as an important role model, and even from afar. I'm sure you have many stories of struggles as an artist, but I'd love to hear about your daily motivation and any interesting plans you have for the future. Also, please let me know if there are any exhibitions or works you'd like to try.
I want to create works that resonate in a positive way with all kinds of people, even if our expertise, era, culture, and values differ. I'm still only halfway there, and the fact that there's still room for me to break new ground and move forward motivates me. Next spring, I'll be participating in an exhibition of contemporary lacquerware at the V&A Museum in the UK. I'd like to create an exhibition that better conveys the background of the materials and culture.
4. Your work is created as a one-of-a-kind piece, drawing inspiration from the materials given to you, regardless of the material and it's as if you breathe new life into the next piece. Is there anything you pay attention to or are particular about?
Perhaps it's making sure that I have a fresh mindset with each piece I create. I think that comes across to the viewer as well.
5. When creating a piece, is there anything you value in the process of arriving at a form that you consider "good"? Also, is it difficult for you to draw the line at "this is it," or is it not that difficult, and you get a clear sense of it making sense?
In terms of form, it's the feeling that the leather has become three-dimensional rather than flat. The line I draw is easy to understand, and it's about making sure that it doesn't become "Lacquered." I'm aiming for a harmonious balance between myself, the lacquer, and the leather.
6. Compared to my usual process, my new knitting pieces allow me to maximize the size of the limited materials I use, and by knitting, I can flexibly adjust the final form, so I think the possibilities are expanded. However, I think they require many steps, detailed work, and a long time to make. What is the most difficult task?
The most important thing about knitting is neatly transforming the scraps that are created during the production process. Therefore, the most difficult part is slowly preparing the scraps into material, but it is also a very enjoyable time.
7. What is your favorite tool for creating works?
Needles and linen thread.
8. What is your favorite thing to do in your spare time?
Spinning yarn and working in the fields near my home and studio.
9. You will be participating in the Contemporary Crafts Exhibition 25' and will be visiting New Zealand in November where you will have the opportunity to interact with local people through your work. Could you please tell us about the concept behind this collection/book, and any message you would like to convey to the audience here?
I believe that crafts are things and cultures that are born from the interaction between people and nature. I will be exhibiting a lacquered leather box that represents my relationship with nature and crafts.
Japan and New Zealand are far apart, but both countries have much in common, having shared rich natural surroundings as neighbors. I hope that many people will view the work.
Interviewed in Oct 25'
Interviewed & Translated by Yuka O'Shannessy, Public Record
Photo courtesy: Masami Kuromoto (Portlait & Studio shots) / Liz Clarkson / Masami Ono (Gallery shots)
