Category: Glass

Revitalizing Taketa with Craftsmanship: Glassblower Naru

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GLASS SHOW with Naru <Inoue Naruhito>
September 3 & 4, 2022
11 am – 5 pm
At The Den on Laurel Street
205 Laurel Street, #104
San Diego CA 92101

For more than two decades, Japanese glassblower Inoue Naruhito, known as Naru, has been fascinated by glass, the raw material of his work. “When I create work, I pay special attention to how light occurs in the work I make,” he says. “I think about how my work refracts and reflects light, and the unique lens effects.”

Large KAGUYA vase by Naru. Its appearance changes subtly with light

KAGUYA pourer and glasses by Naru.
In his smaller utilitarian work, Naru seeks pleasant plumpness of the glass surface

Naru’s work is sinuous and colorful, carrying unique meditative qualities, like an enchanting sea jelly bursting with life. “I want to make work that seems to have sprung out of the earth, or suggest a ripening fruit,” he explains. “Even though they’re manmade, I want to evoke the notion of natural objects that has existed on earth from the ancient past.”

Naru first became interested in glass while traveling alone in Morocco over 20 years ago. Seeing that he had brought a camera, a local friend asked him to document the “Festival of Sacrifice.” “When they brought out a sheep, I assumed that they were going to shear it,” he said. “I was so startled when they started slaughtering it. I wanted to cover my eyes, but somehow, I could maintain my calm through my camera lens.” It was this emboldening effect of seeing the world through glass that stuck with him.

After returning to Japan, Naru visited a local glass studio to learn more about glass. He also discovered that his name “Naru” means “fire” in Arabic. “I felt a sense of destiny because the shape of the glass is changed by melting it with fire,” he says. Eventually Naru signed up for his first glassblowing class at Pilchuck Glass School in Seattle, Washington. “I boldly signed up for their summer session with almost no experience,” he says. But this fearless act allowed him to build friendships with fellow artists at Pilchuck and drove him to seriously pursue the craft.

In 2002, Naru joined the Toyama Institute of Glass Art. After graduating from the institute, he continued to hone his skills by working for various glass artists until 2011.

Nature is the source of inspiration for Naru, and he is immersed in it in Taketa, where he set up his glass studio in 2015. A small country town of less than 20,000 people in Oita prefecture in Kyushu, Taketa is an ancient castle town famous for its soda hot springs and magnificent panoramic plateau on sediment from the Mount Aso volcano.

Magma Glass, a studio founded and operated by Naru in Kuju plateau, Taketa, Oita
Photo courtesy of Naru

The surrounding Kuju Plateau, Taketa, Oita
Photo courtesy of Naru

Central Taketa Town, Oita
Photo courtesy of Naru

Like other small Japanese towns in the countryside, Taketa’s population is aging and shrinking. But what is special about this town is its unique program to promote settlement by young and motivated craft artisans through subsidies. “In 2012, I built my own studio in Yokohama, my hometown, but Taketa invited me, so I decided to move here with my family three years later,” Naru said.

Taketa attracted enough artisans over the years to be known as a town of crafts and beautiful nature among Japanese tourists. Naru’s well-established glass studio –called Magma Glass, in homage to the adjacent Mount Aso— is a great success story providing local employment and attracting craft tourism.

“After I arrived here, I wanted to create work using local materials,” Naru explains. “And because it is Taketa, I wanted to use bamboo.” “Taketa” literally means “bamboo fields.”

Through trial and error, Naru devised a method to cure bamboo to use as molds for glassblowing. Now, his main line of work is made using these bound bamboo molds that create beautiful soft curved lines. He named the series “Kaguya”, after the bamboo princess Kaguya, who was born from a segment of bamboo in the old Japanese folklore, “The Tale of The Bamboo Cutter” (竹取物語).

WATCH VIDEO FOOTAGE OF GLASS ARTIST NARU BY JETRO

Cured bamboo glass molds
Photo courtesy of Naru

KAGUYA wind bell by Naru. These bells have bamboo clappers that create soothing sounds. There will be over 30 of these bells shown in San Diego in September 2022

Naru working at his studio at Magma Glass
Photo courtesy of Naru

The other line of work that Naru passionately pursues include lamps and candle holders that he began making after the destructive earthquake in Japan in 2011. “Soon after the earthquake, there were widespread power outages and electricity conservation requests,” he recalls. He also added that since the pandemic, there has been renewed interest in lanterns in Japan. He says that it is probably because more people spent time outdoors or went camping, and they needed a reliable light source without electricity. “I thought that maybe it is also because fire is a source of comfort during this time of crisis.”

For the Labor Day weekend pop-up at the Den on Laurel Street, Naru will bring over 130 pieces of his work from Japan that will be shown in the U.S. for the first time. He will be at the Den throughout the two-day event. Join us to meet this prolific artist, who is also playing a big part in revitalizing a beautiful town in Kyushu through creativity.

Transparent, Translucent, and Opaque: New Glasswork by Ishida Tami

By:

Ai Kanazawa

August 2, 2021Glass Ishida Tami

Glass by Ishida Tami in our shop ->

When I walk my dog before sunrise in San Diego’s Mission Bay, the sky along the Pacific coast sometimes displays spectacular bands of colors. When that happens, I take a picture and send it to the glass artist Ishida Tami because I think of her work.

The sky before sunrise in Mission Bay, January 2021.

“The beauty of what nature creates is unrivaled and there is no way to even imitate it. But I want my work to stir the imagination in people,” Tami explained about what motivates her. Tami creates blown glass with layers of powdered glass coatings that are cut and intensely polished on the surface, a unique technique that she developed while studying the works of ancient Sasanian glassmakers.

Combining colors is the most difficult aspect in creating her work and Tami readily admits that she often makes mistakes. “Glass can be opaque, translucent, transparent, and the sizes of glass powder and their melting speeds and manufacturers can vary,” Tami said in summarizing the complex process and infinite combinations that are possible.

Tami used three different types of black glass in four different grain sizes to create work in the batch for Entoten

For example, Tami used three different types of black glass in four different grain sizes in the latest batch of work that she made for Entoten. “Black goes well with vivid colors so I used black many times in this batch of work,” she said. “I’m happy that delicate expressions of layers can be achieved with them.”

Tami has recently been finding inspirations for colors and layers of glass in natural stones, like agates with patterns on the cut surface. And while researching agates, she stumbled upon “The Writing of Stones,” a book by the late French intellectual Roger Caillois. “I thought that maybe we were inspired in a similar way by these rocks,” she said about the book. “But the vast imagination that Caillois derived from the interior of these stones was astonishing.”

A closer look of the foot of a glass vessel by Ishida Tami

Tami chuckled that she thought she was skilled at fantasizing until she read Caillois’ book and was amazed that he was far better at it. “My thoughts as I create are evolving little by little, even if that isn’t apparent now. But I hope to create work that would reflect this progression in the future,” she said. The transformation is already visible in her current work that are distinctly her own.

The Genius of Unusual Methods: Glass Art by Ishida Tami

By:

Ai Kanazawa

January 14, 2021Glass Ishida Tami

Glass Vessels by Ishida Tami in our shop ->

When I saw Japanese glassmaker Ishida Tami’s work, I immediately thought of eggshells in a dazzling array of colors laid by exotic birds hidden deep in a forest that had yet to be discovered. Her gorgeous work invites self-reflection and quiet contemplation, like watching the sky gradually change its color in the early morning before sunrise.

Glass vessels by Japanese glassmaker Ishida Tami

“They are glass, but I want them to appear like ceramics, lacquerware, and even pebbles,” Tami explains. “I am very particular about the texture and colors of the surface.” Tami enjoys creating work that fits in the palm of a hand and pays special attention to how the surface feels when they are touched.

Glassmaker Ishida Tami likes to make objects that fit in the palm of a hand and pays special attention to their touch

Initially, I thought Tami’s work looked like pate de verre, a type of glasswork that is made by filling powdered glass pastes into a mold. But her vessels carry a lightness that is not typical to pate de verre because they are actually blown glass with layer upon layer of powdered glass coatings that are cut and intensely polished on the surface. Her work is a mind-bogglingly time-consuming process, and I was curious to find out why Tami decided to create her work in this elaborate manner.

Ishida Tami blowing a gray color base vessel coated with ivory colored powdered glass.
Photo courtesy of Ishida Tami

Tami was born in Okayama prefecture, home to the famous local Bizen pottery that are usually unglazed and fired with wood. She studied ceramics in high school, but the austere Bizen pottery seemed dark to her young eyes, and she became more interested in glazed pottery. Later when she discovered that a new university, the Kurashiki University of Science and the Arts, was opening in 1995, she thought glass “seemed even more beautiful than glazed pottery.” So she decided to study glasswork.

The blobs of glass are cut after cooling and the bottoms are then polished into vessels.
Photo courtesy of Ishida Tami

But it was only after Tami started researching and creating replicas of ancient glasswork after graduation that she became fascinated by glass. Her graduate thesis was a work based on a historic Persian cut glass vessel in the collection of Okayama Orient Museum. She later enrolled in the Masters of Glass program at the University for the Creative Arts at Farnham in England and proceeded to extensively study Sasanian and Islamic glasswork. In 2013, Tami received the honor of being invited to create a replica of a Sasanian Cut Bowl for the British Museum. In 2015, Tami won first prize in the prestigious Stanislav Libensky Award given out by the Czech Republic that provided her the opportunity to spend three weeks at the Pilchuck Glass School in Washington state.

“Ancient glassmakers created work through mysterious methods and techniques,” Tami pointed out. “And this is because they were still working their way to discovering more efficient ways to make things, but with limited tools and fuels.” It was the ingenuity of these long-gone glassmakers that Tami felt a deep love and attraction for and has become the driving force of her creations.

Glassworker Ishida Tami’s self-adapted coldworking tool. She changes the wheel to cut and polish the vessels into the final form.
Photos courtesy of Ishida Tami

After Tami lost her teacher in a tragic accident three years ago, she has not been able to get back into her research of ancient glass and creating cut glass vessels. But through the study of Sasanian glasswork, Tami has accumulated extensive knowledge in cutting and polishing glass (click here to watch a YouTube video of former curator of Corning Museum of Glass, David Whitehouse describe a Sasanian cup with high quality glass cutting). Through experimentation, she discovered that a distinctly beautiful texture and effect of graduating colors can be achieved by coldworking pieces that are blown and coated with powdered glass.

Tami admits that, “it is like taking the very long way home to create glasswork with the presumption that it will be coldworked to finish the form.” But this unusual method is the very reason why her work is so unique.

Glass vessels by Ishida Tami that resemble eggshells in a dazzling array of colors.

In a world where efficiency is prized, we sometimes forget that the process still makes the biggest difference to the end result. Tami’s work reminds us that the key for making objects that goes straight to the heart is not just about employing state-of-the-art equipment but is also about taking the time and trouble to convey the fascination for the material.

Minazuki: Wishing Upon a Dessert

By:

Ai Kanazawa

June 28, 2020Glass Food and Craft Sasaki Shoko

Glass plates by Sasaki Shoko in our shop ->

Leave it to the Japanese to come up with the most appropriate names for the months of the year. June is Minazuki, which literally means “the month of water.” This is the time of year when the rice paddy fields are filled with water, and also of relentless downpours because this is prime rainy season in Japan.

With tea classes cancelled until at least autumn, my desperation for Japanese sweets has reached new heights and so I embarked on making “Minazuki,” a delicious rice cake sweet named after the month.

Minazuki dessert on a glass plate by Sasaki Shoko. The triangle shape refers to the traditional thatched ice house where natural ice was stored. Summer sweets evoke a sense of coolness.

I first tasted Minazuki when visiting the Chado Research Center in Kyoto in 2015, where the museum entry fee included a bowl of matcha tea and a seasonal sweet. I’m terrible at remembering the times when I traveled to various places, but because I was served Minazuki, I know it was in June. I later also learned that people in Kyoto eat this triangular mochi dessert topped with red beans cooked in sugar often during the month of June.

A mochi topped with azuki red beans sounds relatively simple to make, but there is that stupid perfectionist in me that whispered, “but if you’re making Minazuki, the azuki can’t come from a can, it’s got to be those big Dainagon azuki.” In addition, the whisper continued: “Add some kudzu in the mochi to make it certainly Kyoto style (from my provincial Tokyoite perspective, kudzu is a very Kyoto ingredient).

With all these wild ambitions, I cooked over two days to make the sweet. Alas, the red beans didn’t turn out quite as I had hoped because their skins broke. Ideally, they are supposed to be intact and beautifully plump. I discovered that Azuki cooking is an art, like making the perfect Canelés de Bordeaux. Cutting this delicious sticky thing was a challenge by itself, but I persevered!

Minazuki on a petal edged dessert plate by Sasaki Shoko.

Minazuki is eaten especially in conjunction with the day of the summer passage cleansing ritual known as “Nagoshi no harae” on June 30th. The ritual is carried out with the hope of being disease-free and to ward off disaster and misfortune. And since such a wish can be made by making and eating a humble sweet, I virtually send you all Minazuki, to wish you good health for the rest of this difficult year.

Building a Japanese Glassware Tradition: Blown Glass by Floresta Fabrica

By:

Ai Kanazawa

February 17, 2020Floresta Fabrica Glass Shizuoka

Blown glasswork by Floresta Fabrica in our shop ->

When people think of crafts from Japan, glassware is probably not the first thing that comes to mind. But even though the craft has a relatively short history in Japan, I personally think Japan boasts many glass makers who create exceptional work, both sculpturally and functionally.

Blown glass pitchers by Suzuki Ai: The spouts are perfectly executed so they do not drip. The downward spout make these lovely pitchers resemble little birds

Glass tea caddy by Suzuki Tsutomu. The stunning blue-green color is added by films of silver and copper on the outside. Tsutomu carried out countless experiments to achieve this effect.

An emerging example of this Japanese glasswork excellence is Floresta Fabrica, a studio of husband and wife glass blowing duo of Suzuki Tsutomu and Ai, based in Mori town of Hamamatsu city in Shizuoka Prefecture. ‘Floresta Fabrica’ is Portuguese for ‘forest factory,’ because Tsutomu and Ai wanted to honor the Portuguese who brought glass blowing techniques to Japan in the 18th century. ‘Forest’ refers to their hometown of ‘Mori’, which means ‘forest’ in Japanese. They established their gallery and residence inside an old Japanese house in 2016.

Suzuki Tsutomu and Ai’s residence and gallery in Mori town

The view from the gallery of Floresta Fabrica

Tsutomu and Ai’s hand-formed glass vessels have very pleasing and slightly nostalgic forms and textures. “We thoroughly study the forms so that they are pleasing to look at and are comfortable to use” Ai explained. “We try to have the perspective of the user when we design the vessels.”

Glass goblet by Suzuki Ai has a lovely form and slightly nostalgic appeal

They are particular about forming each piece by only using hand tools because they believe that is the best way to convey the beauty of mouth-blown glass. For textured pieces, the mold is only used in the beginning to add the texture but shaping is done with hand tools. Ai said that mastering the use of tools is the most difficult process of glass blowing, and that she sometimes just wants to use her hands, but laughed that “would not end well.”

Some of the hand tools used by Suzuki Tsutomu and Ai

Suzuki Tsutomu creating the foot of a sake cup

The batch, which refers to the raw material for the glass, is also very carefully selected for the transparency of the glasses. “We use batches from Sweden because they are very transparent, and we melt the materials carefully so that very few impurities get mixed up.” Any impurities will affect the clarity of the glass.

A pelletized batch from Sweden used by Floresta Fabrica. The material is lead-free and melted to create clear glass.

Ai studied glass blowing at the Osaka University of Arts. She was among the first generation of students that studied in the newly established department. “It was a very good environment because they had the newest and top of the line equipment,” she recalls. Tsutomu was born into a family of ceramicists in Mori, which is well-known for its Moriyama ware. He learned glass-blowing at the Tokyo Glass-Art Institute, and worked several years in Tokyo. The couple decided to settle in Mori after they got married because they believed it was the ideal location for their studio.

Tsutomu and Ai recently became parents to a baby boy and are very happy to be able to raise him in the beautiful natural environment surrounding their house. “This location works well because people come to town to see the ceramics and they also stop by to see our glass work,” Tsutomu said. They dream that Mori will be known one day for both ceramics and glasswork.

The beautiful natural environment of Mori town

And history is on their side. Moriyama ware has a history of about 100 years, a relatively short timespan for ceramics in Japan. Moriyama was started by Nakamura Hidekichi, a local man who was so impressed by the story of Seto’s potter Kato Kagemasa that he invited a Shitoro-ware potter to establish a kiln in Mori. These days Mori is a well-established pottery town that is home to four families of potters.

Nitta Yoshiko’s Trunk Show at the Mingei International Museum Shop in Balboa Park, San Diego. November 3rd and 4th, 2017

By:

Ai Kanazawa

November 1, 2017Glass Mingei Nitta Yoshiko

Blown and etched glasswork by Nitta Yoshiko in our shop ->

I am really excited to be able to show over 100 masterful pieces of work by Japanese glass artist Nitta Yoshiko at the Mingei International Museum Shop in San Diego this weekend.

Blown glass bowls by Japanese artist Nitta Yoshiko

I have known Yoshiko for over 5 years now, and I still remember vividly when I first saw her glassware at a craft fair in Osaka in 2012. I had never seen blown glass as thin and comfortable to hold as those made by Yoshiko, and I excitedly asked if she was willing to work with me to introduce her work in the United States. I was so happy when she agreed!

Japanese Glass Artist Nitta Yoshiko (third from left) at a craft fair in Japan in 2012

Almost every day, I use the glasses that I first bought from her back in 2012. Yoshiko’s works are not just beautiful and simple, but also very sturdy. Yoshiko makes her work exclusively with clear glass that demands the highest skill from the glass blower because any unevenness in the thickness can be obvious at first glance.

Glass blowing tools used by Nitta Yoshiko

I asked Yoshiko why she chose to work with clear glass despite these technical difficulties and she gave me this explanation: “The biggest reason I work with clear glass is because it is my favorite type of glass. In my opinion, the most appealing aspect of glass is its ability to let the light through, and its shadow to fall onto the surface that it is placed on. These effects are maximized in clear glass. I also love the appearance of clear glass.”

Nitta Yoshiko chose to work with clear glass because she thinks that the most appealing aspect of glass is its ability to let the light through, and its shadow to fall onto the surface that it is placed on.

Orange supreme in Nitta Yoshiko’s footed bowl. Yoshiko works with clear glass because it shows the true colors of the objects that it is holding.

She continued: “I also want my work to be the vessel that shows the true colors of the objects that it is holding. Food, flowers, drinks all have beautiful natural colors. I think people want to enjoy the subtle colors of their sake, for example.”

The maker’s regard for the end user can be felt in every piece that is made by Nitta Yoshiko.

Yoshiko was planning to be in San Diego for this show but a family emergency made that trip impossible unfortunately. Nonetheless, she is here in spirit, and her regard for you, the end user, can be felt in every piece that she made and sent. I hope that you will be able join me in celebrating her beautiful work at the most fantastic and appropriate venue that is the Mingei International Museum Shop in San Diego.

Heart of Glass: The Transparent Passion of Glassmaker Ikushima Harumi

By:

Ai Kanazawa

November 19, 2013Glass Ikushima Harumi

Glasswork by Ikushima Harumi in our shop ->

The mark of a true glassmaker is being totally smitten by a red-hot glob of molten glass. This was the reaction of Japanese glassmaker Ikushima Harumi when she saw the gathered glass at the end of a blowpipe coming out of a furnace for the first time. “I thought it looked like a beautiful glowing stone. I was very excited”, she recalls of the moment when her love affair with glass began.

Harumi specializes in the elaborate Italian glass making technique known as murrine. The murrine process begins by creating a fused bundle of colored glass into a design and stretching it into a cane. The cane is cut crosswise to reveal the design and these pieces are called murrine. The murrine are then arranged into a mosaic, fused into a tile, and picked up with a molten glass collar and blown into a vessel.

Glassmaker Ikushima Harumi at her hot glass studio in Shizuoka Japan — Glassmaker Ikushima Harumi at her hot glass studio in Shizuoka, Japan

This blown murrine process that is used to create her footed cups is extremely complex because the murrine adds to the difficulty in creating a balanced and clean form. Uneven expansion of glass can also cause the pattern to warp. So how did Harumi master this composite process?

Harumi did not start out as a murrine glassmaker when she first entered the profession after graduating from Tama Art University almost 20 years ago. From the beginning, Harumi was curious to learn different techniques including lampworking, fusing, and casting that brought out different aspects of the beauty of glass.

Close-up of the murrine cup. Blowing murrine into balanced form is an extremely diffcult task. — Close-up of the murrine cup. Blowing murrine into a balanced form is an extremely diffcult task.

The equipment that was available to her also determined what methods she could use. When Harumi’s glassmaker husband Ikushima Ken worked for the American glassmaker Dan Dailey at his studio between 1997 and 1999 near Portsmouth, New Hampshire, Harumi bought a little kiln that was used on the kitchen counter to make kiln-formed glass.

After returning to Japan, the couple decided to build their own glass studio on the western coast of Izu peninsula in Shizuoka. Since their studio was built in 2001, Harumi has been blowing glass more frequently. The glassblowing process requires an assistant, and Ken and Harumi help each other. So being married to a glassmaker has also allowed her to continue glassblowing.

Hot glass tools at Ikushima Harumi’s studio
(Photo courtesy of Ikushima Harumi)

Harumi’s embrace of the murrine technique is likely the result of her experimentation with various methods of glassmaking throughout the years. “Among the many steps of creating blown murrine, I especially enjoy the quiet part of the process, like deciding the color and design of the cane, or making the canes, then cutting and arranging the little pieces” she explains. The all-involving murrine technique is perfect for this multi-skilled glassmaker.

A fused tile of murrine speak of the quiet moment when they are arranged together by Harumi (Photo courtesy of Ikushima Harumi) — A fused tile of murrine speaks of the quiet moment when they are arranged together by Harumi
(Photo courtesy of Ikushima Harumi)

The murrine process also offers a tantalizing insight into Harumi’s philosophy of glassmaking. “I want to make work that only I can create. But to me, what is distinctly mine is not defined by a new form or an interesting color of glass” she says. “As I make my work, I imagine the environment where my work is going to reside in, in the lives of other people who use it” she continues. “I want my work to be the vehicle to share the joyful feeling that I experience while making glass. The quiet, happy moment when I’m arranging the murrine on the kiln shelf.”

The stylish beauty that defines Harumi’s colorful work clearly captures her spirit and the serenity that comes from someone who is so at peace and in love with her craft.

A Lifetime’s Yearning: The Fine Blown Glasswork of Nitta Yoshiko

By:

Ai Kanazawa

October 8, 2013Glass Nitta Yoshiko

Glass by Nitta Yoshiko in our shop ->

There is no place to hide for an artist that works on handmade glass. The delicateness and transparency of the medium means that a maker’s lack of expertise, eye for detail, or even passion and dedication, are very obvious.

A blown and etched glass carafe and cups by Japanese glassmaker Nitta Yoshiko

Fortunately, Japanese glassmaker Nitta Yoshiko has these attributes in abundance. She is a master creator of mouth-blown glassware etched with delightful, intricate patterns. Her work possesses a unique contemporary flare that features a compelling contrast between its frosted and transparent elements. Yoshiko points out that “transparency is a special aspect of glass that other medium do not possess. So I want to create work that lets that characteristic shine”.

Cups by Nitta Yoshiko. The beautiful contrast of etched and clear elements emphasize the transparency of glass

I met Yoshiko at a craft fair in Osaka in the autumn of 2012. She made such eye-catching work that I wanted to find out more about this unassuming but immensely talented artist, and bring her work to the attention of a larger audience in the U.S.

From a very early age, Yoshiko had yearned to make a living as a craftsman. She wanted to follow in the creative footsteps of her father, who was an umbrella maker in Osaka.

When Yoshiko was in high school, she visited a glass art show in Osaka and instantly fell in love with the glasswork of the internationally famous glass artist Iezumi Toshio. After discovering that Iezumi taught glass at Kurashiki University of Science and the Arts, she enrolled in the university to study under him and thus, he became her mentor. At the university, Yoshiko also had the opportunity to take classes with Kodani Shinzo, a well-known Mingei glassmaker from Kurashiki.

Nitta Yoshiko rolls a gather of glass on a marver in her Tokyo hot shop

This intensive training profoundly shaped Yoshiko’s views about what she wanted to do and how she would go about doing it. “After four years of studying glass in university, I developed a strong desire to create utilitarian wares out of glass.” Yoshiko has been doing exactly that by making glass objects for everyday use since her graduation in 2000.

“I want my work to be used daily, so I pay special attention to the thickness, weight, and size of my work”, Yoshiko explains. Her glass cups have thin rims that feel good on the mouth. They are also lightweight and the etching on the glasses allows for a solid grip that makes them very comfortable to hold. Yoshiko puts considerable thought into the design and engineering of her work, always striving to meet her exacting requirements.

The etching on the glass provides a solid grip that makes it very comfortable to use

Yoshiko creates her vessels through the ancient technique of free-blowing, a time-consuming process that adds to the charm of her work. Free-blowing does not use molds and so requires skill and experience to manipulate the shape of the glass using centrifugal force and gravity. The slightly distorted transparency of blown glass and its gentle waviness has an allure that can be found in an old farmhouse window or in quiet ocean ripples. The effect gives a warm appeal that cannot be replicated in mass-produced work.

The charm of a glass bottle made the old fashioned way is its gentle waviness and slightly distorted transparency

A hallmark that denotes the high quality of Yoshiko’s work is the detailed etching of her glass. She achieves this by drawing fine patterns directly onto the glass surface with a special glue resist, which is then sandblasted. The patterns are time consuming to draw but the results are outstanding.

There is an often-heard argument that the nature of handmade craft requires sacrifices in engineering and usability. Yoshiko’s high-quality work and craftsmanship is an elegant counter-argument proving that this is simply not the case.

Introducing Sasaki Shoko: Making Original and Elegant Kiln Formed Glass

By:

Ai Kanazawa

July 31, 2012Glass Sasaki Shoko

Sasaki Shoko is one of the exciting new talents in Japan’s glass making community. This young and energetic glass artist has a creative vision that is reflected brilliantly in the tasteful combination of shapes and colors that distinguish her kiln formed glass works.

Studio KotoKoto came across Shoko’s work in a show at a prominent department store in Tokyo in October 2011. The show featured handcrafted items for contemporary tea ceremonies and was organized by an artist collective called Enishi.

Kiln formed glass plates by Sasaki Shoko

Shoko explains her approach: “I always try to bring out the best in the ability of glass to create interesting expressions by layering colors”. She strives to bring out the beautiful yet subtle Japanese colors such as gunjyo (ultramarine), sumire (violet), and kurenai (crimson) into her fused glass. Shoko’s exquisite works instantly attracted our eyes.

Fused Glass Plate Diagram — Glass artist Sasaki Shoko’s base drawing and design of her plates
(Photo courtesy of Sasaki Shoko)

Scoring glass with a glass cutter (photo courtesy of Sasaki Shoko)

Sasaki Shoko using glass runner — A running plier is used for breaking the glass along the score line
(photo courtesy of Sasaki Shoko)

An interesting twist is that the colored glass that Shoko works with is produced in the U.S. by Bullseye Glass Co., which has been providing fusing compatibility tested glass to artists around the world since 1974. By layering, sandblasting, and firing and re-firing this glass to precise temperatures in the kiln, Shoko masterfully allows the glass to express the delicate and sometimes slightly muted colors that are uniquely Japanese.

Kiln with slumping mold — Placing the glass on a slumping mold in the kiln
(Photo courtesy of Sasaki Shoko)

Shoko grew up in Niigata, a prefecture in the island of Honshu on the coast of the Sea of Japan. After moving to Tokyo to attend Musashino Art University, she was instinctively drawn to glass as a medium because of their transparent and colorful nature. During her formal training at the university for a Masters of Fine Arts, she was especially drawn to kiln-formed glass because it allowed her to accomplish numerous expressions by understanding and manipulating the kiln temperatures.

“My work may not be flamboyant, but I design them to have a distinct presence when people use them”, Shoko points out. The work she creates are stunning and elegant indeed!

A selection of kiln-formed glass plates made by Sasaki Shoko is available from our shop.