Nobuaki Tsuchiya garage419

We discovered the work of Nobuaki Tsuchiya during a trip to the Japanese Alps. His work immediately caught our attention with its sculptural – yet functional – character and the quality of its finishes. Presenting 3 of his pieces in our Tactile Objects selection, we discuss with him his vision of craftsmanship, the influence of his territory and his relationship with sculpture.

Hello Nobuaki, could you introduce yourself and tell us about your background?

My name is Nobuaki Tsuchiya. I studied design at university and then started working in an antique shop, an architecture firm, and a carpentry shop. My grandfather was a carpenter, and since I was a child I have enjoyed making all kinds of wooden objects. In 2022, I naturally set up my workshop in the Kiso region of Nagano Prefecture, a very mountainous region with an abundance of wood. I create furniture and utility pieces, especially from green wood.

Your sculptures are very drawn. How do you approach wood carving?

I used to draw a lot when I was a student, which is perhaps reflected in my sculptures. There are many types of patterns, but I prefer abstract patterns, created by a series of simple notches with the blade. In ancient Japanese architecture, patterns were often carved into beams with a hatchet to decorate them. These patterns were born out of practical necessity, but they have a very graphic aesthetic. In the past, it was difficult to saw large pieces of curved wood, so people preferred to use the natural shapes of the wood and decorate them with fine patterns with the blade. In creating my sculptures, I try to respect this ancient relationship between man and wood.

The territory seems very present in your approach. How does it influence your work?

Kiso is a very mountainous region, but it is historically important because it is crossed by the ancient Nakasendo road (connecting Kyoto and Tokyo in the Edo era). The Kiso cypress has been exploited for centuries for construction. This region is marked by popular culture testifying to the life of the inhabitants: old objects that have been passed down in families, houses, ways of life, professions and traditional festivals. This place, where people's lives have always been in harmony with nature, deeply inspires me in my work.

How do you choose the wood you carve?

The species and sizes of trees felled locally are varied. I begin production by cutting the log with a chainsaw, thinking about the use I will make of it. I often use cracked wood or wood with particular characteristics, which are not necessarily suitable for utilitarian pieces but rather for sculptures.

Our fall selection, in which you are participating, is a tribute to wood carving. Can you tell us about your relationship with this technique?

In addition to creating flat surfaces using planes or similar tools, there is a technique of making small, repeated incisions to form varied patterns. I think a textured finish allows one to imagine the process of working, the time spent, the sounds produced, and even the feel of the original bark of the wood.

Can you introduce us to the three pieces you have created?

These three displays are made from locally harvested wild cherry and chestnut. The green wood is cut with a chainsaw and then shaped on a lathe. Fine lines are etched across the entire surface, each piece hand-engraved with a single blade. The pieces are then dried, stained with natural plants, and finished with oil and wax.

The patterns are inspired by rice fields and growing grasses, evoking the mountainside rice fields and the rice swaying in the wind. Here, the tradition of planting, cultivating and harvesting rice continues. My repeated incision work is inspired by this life in symbiosis with nature.