The concept of this project
is to prepare a generated object as a body for URUSHI(Japanese lacquer)
works by using digital solutions, being based on the sense of nature
and fluency in order to broaden the common mindset of URUSHI process.
URUSHI lacquer is a natural material (resin)
that hardens by chemical reaction with moisture. As well as it reinforces
surfaces, traditionally solid or hollow forms can be created by
using hemp fibre and powdered mud. But the problem is that it takes
so many steps to complete the shape, therefore it would be difficult
to change its shape even if you wanted to change your mind in the
middle of the process. That means a very precise plan of works should
be fixed, and followed to complete it before get started and once
you've got bored with the shape, you have to give it up despite
of being in the middle of the process.
While using particular materials and facilities, an "unpredictable"
elements are generally seen in various kind of craft techniques
and process as the incidents being caused by the material and other
circumstances such as limited capability of facilities. While this
"unpredictable" elements must make contemporary craft
intrigue, in comparison to other craft-material, the traditional
process of forming of URUSHI works with using hemp fibre tends to
lack this "unpredictable" elements, however, it is still
difficult to make the color vivid as you wish in the end result.
In this respect, this lack of "unpredictable" elements
seems to make the shape of URUSHI works less intrigue than it could
or should be more. In other words, every elements are under your
control and all you have to do has been already fixed from the beginning
to the end BEFORE you start your works. It's by no means a creative
works but merely an operation, at least as for me.
Nature consists of numerous organic curves and figures. First, extracting
some impressive curves out of a picture of nature(1) and then importing
them into the CG software(2). Some three-dimensional software can
connect curves, which are placed in distance each other, to generate
a "virtual" surface as fluent as possible the software
can(3). Then you could get a "real" piece of surface by
system without using your hands(4). After you prepare and place
these curves properly on the software, you couldn't exactly expect
what shape you would get due to limited capability of the software.
However you may know much about how the software works, there are
still complicated process in the computer which delivers "unpredictable"
elements. You could try and try to do unlimited times like as a
potter is facing potter's wheel until you've got a shape which attract
you good enough to continue the works, however, sometime it may
come as very plane shape and another time come as very complicated
The main theme of my project is to merge the digital solutions as
a tool of the contemporary craft with the process of making shapes
of the body of URUSHI works in order not only to make the surface
more intrigue and attractive for me but to get new realm of the
representation of URUSHI-art. (see
also this page)
|The Surrey Institute of Art & Design, Surrey, UK
|ART SPACE NIJI, Kyoto, Japan
|Comtemporary Art NIKI, Tokyo, Japan
|Kanazawa, Japan, TBA
|Tokyo, Japan, TBA
||TBA soon, 2004