[Lacquer artist Muto Hisayoshi] Living with lacquer and continuing to search for the unknown beauty of lacquer

-First of all, please tell us what made you start working with lacquerware.

The reason I became a lacquer craftsman is actually very simple: it was the family business.

My father was a lacquer maker for Buddhist altars.

I followed in his footsteps and began working in the same field, lacquering Buddhist altars.

My father was a well-known craftsman in the industry, so I struggled every day to keep up with him.

I just want to paint it nicely and finish it beautifully.

I just always wanted to get better.

-How did you go from there to creating the kind of works you do now?

It was about 10 years after I became a craftsman.

I felt like I was finally able to paint properly, and people around me said the same thing.

At that time, I suddenly became increasingly interested in lacquer itself.

I thought that there might be more potential in lacquer as a material, rather than just as a "job" for making Buddhist altars.

At the same time, I felt a strong desire to let more people know about lacquer.

Lacquer has been a familiar material to me since I was a child, but the general public has a strong image of it as something "luxury," "something you only find in department stores," and "something you don't have a chance to come into contact with."

That's why I started making things that use lacquer as the main material.

--Once again, what do you think is the appeal of lacquer as a material?

Lacquer is truly a mysterious material.

It's extremely difficult to handle and failure is common.

To be honest, there are many times when things don't go as planned.

But that's what's interesting.

When it comes to painting Buddhist altars, there is a certain correct answer as to how it should be.

But I thought there might be a more free way to express lacquer.

So I tried painting it on paper, on cloth, and on a variety of other materials.

By doing this, you will make many discoveries, such as, "Oh, so that's how it looks."

I feel like there is still a lot of beauty in lacquer that I don't know about yet.

I still feel like I'm always searching for it.

--What is the underlying thought behind this production?

I think it's a sign of gratitude towards lacquer.

My father raised me with lacquer, and I myself make a living from lacquer.

That's why I feel so grateful to lacquer.

I personally love lacquer, so I want to make it something that people will say, "Lacquer is amazing."

It feels like a way of giving back.

To that end, I have been continuing to create products that capture the appeal of lacquer in a way that has never been seen before.

--Please tell us about your representative work, "Tsutsumu."

"Tsuku" is a vessel made entirely from glass and lacquer.

But it's not like lacquer is applied to glass.

There are pieces of glass, and lacquer is what connects and supports them.

No core materials such as wood or paper are used.

It is made up of parts that are made only of lacquer and parts that are made only of glass.

-It's a pretty unique structure.

Normally, lacquerware has a core material such as wood or paper, and then lacquer is applied on top of it as a coating.

That's what's been bothering me for a long time.

"Can't lacquer stand on its own?"

It somehow felt weaker than other materials, which was frustrating for me as a lacquer lover.

That's what prompted me to start experimenting with whether I could make vessels using only lacquer.

After much trial and error, they finally created a vessel made entirely from lacquer.

This was further developed and "Bao" was born by combining broken glass pieces.

This is already... a personal preference (laughs).

This is a piece that was created with great love for lacquer.

-How does it actually feel to use?

That's what's so great about it.

It has a very soft texture and doesn't feel cold or hard.

When you add alcohol to it, it tastes surprisingly delicious.

This is a charm of lacquer that I would never have realized if I hadn't made the "tsutsumi."

I'm really glad that I was able to create and discover it myself.

--You're also trying to expand overseas.

I started out as a Buddhist altar craftsman, so when I completed my works I had no way of selling them at first.

I managed to sell domestically by doing some sales and getting introductions, but I had a strong desire to bring my products overseas as well.

It was around this time that I happened to learn about Maison & Objet.

I applied with a light-hearted attitude, thinking, "It's probably impossible, but I'll give it a try," and I was accepted.

However, at the time I couldn't keep up with the preparations, so I declined the offer.

So the following year, I tried again with a proper support system in place, and was selected again.
I thought I had no choice but to do this.

We also launched a crowdfunding campaign to raise funds, and a huge number of people supported us.

The feeling of being supported at that time gave me a strong motivation to deliver my work.

-Is there anything you would like to say to young creators?

Anyway, the thing to do is try it.

Fail, make it again, fail again.

I believe that the more you go through trial and error, the more your skills will become.

Many people think, "I won't do it because I'm afraid I'll fail," but that's a waste.

Every failure is an experience that will become a source of nourishment for you.

It will definitely come in handy somewhere later.

I think it's good to fail a lot, especially when you're young.

-What do you keep in mind on a daily basis?

Anyway, there's a lot to see.

I think that if you are a lacquer craftsman, it is better to look at a variety of things, such as other crafts and arts, rather than just looking at lacquer.

When I see something, I think it's important to think, "Why am I drawn to this?" or "How is this made?"

I try to hone my sensibilities by looking at things from both the perspective of how they are made and the emotions that arise within me.

-Please tell us what your future goals are.

I would like to continue working with lacquer for 10 or 20 years to come.

I want to continue experimenting and failing, saying "this works, that works," and continue to search for the charms of lacquer that no one else knows about.

I was grinning to myself, thinking, "I made this!" (laughs)

So I hope to continue making things, discover more of the appeal of lacquer, and share it with as many people as possible.