Rabea Ferber

Hello Rabea, we first collaborated in 2021 for our "On The Table" selection. Has your approach to urushi lacquer evolved since then?

I have certainly learned plenty since then, and my techniques have improved a lot. In 2021, I just started using urushi and was mainly self-taught. I have since spent XNUMX years studying various urushi techniques under Japanese Masters and gathered a much deeper understanding and knowledge of the material, as well as the traditional Japanese methods it is used for. I still have only just scratched the surface, however, and the deeper I dive into the subject, the more vast the possibilities seem to be. 

Could you tell us about your academic background in Yamanaka and what led you to specialize in urushi ?

Technically, I specialised in woodturning and the creation of Japanese lacquerware. Crafts in Japan are highly specialised, and craftsmen don't usually practice multiple techniques or areas of craft. So while part of my XNUMX years of studies on woodturning did involve the study of various urushi techniques, I would not be considered an urushi artisan in Japan. I personally, however, want to create my objects from start to finish, which involves sourcing and prepping the wood, shaping it and lacquering it to make it food-safe and durable. When working with woodenware, one constantly searches for the perfect finish to create long-lasting objects for daily use, and urushi is the ideal material for this. Wanting to learn how to create woodenware and study various urushi crafts, Yamanaka was the perfect place for me. A little town is known for its centuries of lacquerware production, with multiple master craftsmen practising all the steps it takes to create a traditional Japanese lacquered bowl. 

Does living in Japan influence your work and your vision of craftsmanship?

Absolutely, I could not live and study in Japan and not be influenced by it. Urushi ware is such a staple piece in Japanese kitchens, and the shapes and finishes have all developed in relation to Japanese meals and customs. Rice Bowls, Miso Soup Bowls, Sweet Serving Trays for tea ceremonies, tea caddies, etc., are all distinct Japanese objects which come with a set of rules on how to create and handle them.
I don't think you can make a great tea bowl without first studying the art of Japanese tea serving. Also, the processes themselves are deeply rooted in the culture of patience and attention to detail, for which Japan is renowned.
Interestingly, however, since coming here to learn from the Japanese craft culture, I have grown more appreciative of the lost and living crafts of my home country. I think it is important not to focus too much on our fascination with a foreign culture but to look at what we can learn from it to push and fuel our own artisan cultures, which are in decline. 

Is there a particular technique you enjoy working with? Could you describe it for us?

I quite enjoy Kawarinuri techniques. Kawarinuri literally means "different lacquer" and is a term used for any urushi technique which doesn't quite fit within the categories of the more distinct methods. These techniques are often quite experimental and were frequently found on Katana Sword sheaths, therefore also known under the term "sayanuri" (sheath lacquer). Kawarinuri can include a variety of unusual materials to create interesting effects on the lacquered surface, such as mushrooms, tobacco, cat hair, seeds, tofu, etc. With its vague definition and endless possibilities, Kawarinuri doesn't quite fit in the strict Japanese framework of passed-down techniques and processes. Maybe that is why I enjoy it so much.

What are your main sources of inspiration for your creations?

I get inspiration from various things. Usually, it will be other objects: pieces in museums, modern Japanese ceramics, ancient Korean lacquerware, traditional Swedish handicrafts, and modern design classics. But a lot of my design process and decision-making comes from the material itself. I often decide spontaneously while working with the piece where it might take me. All in all, I prefer to create things which make the most of their material, which often results in simple, nature-inspired shapes. 

With the growing interest in lacquer, how do you perceive this attention and what impact does it have on your work?

I think it's great that there is a growing interest in lacquerware. I believe it deserves more attention, and I hope this "trend" will help preserve the traditions in Japan, which are also struggling and declining slowly. 

For the Urushi Lacquer Selection, you are presenting three tea boxes, each with different characteristics. Could you introduce them to us ?

For this selection, I worked on three small boxes, each featuring a different urushi technique. I found the boxes in my workshop in Yamanaka Onsen, which I have been renting since graduating from woodturning school. All over this small town, one can discover abandoned woodturning workshops stacked with blanks, sample pieces, and finished work, all left behind and forgotten.

The workshop that I am currently using was last used by a master woodturner around 60 years ago and there are still notes with sketches, orders and prices scattered around. It seems that the craftsman mainly created tea caddies, and there were quite a few sample pieces or tests still on the shelves or in the wood storage.
I loved the idea of 'collaborating' with a past artisan and continuing the tradition in this way. I therefore chose three identical boxes, which must have been samples at some point. Without altering the wooden base at all, I added urushi to them.
I used three techniques:

• fuki urushi in black urushi to keep the natural appearance of the wood visible and highlight the work of the unknown craftsman as much as possible

• inlay with eggshell to create a contrasting, textured surface

• negoro style, in which red lacquer is used underneath black lacquer, which is then sanded to reveal the colour beneath. 

Unique pieces available in our online store.