Tano Satsuki
Hello Tano, could you introduce yourself and tell us about the path that led you to your current work with urushi?
I was born in 1991 in Shimane Prefecture, Japan. When I was a university student, I worked on wood carving projects. At that time, I found myself more drawn to everyday items like tableware and tools that blend into daily life, rather than large sculptural objects.
In 2018, I moved to Yamanaka Onsen in Kaga City, Ishikawa Prefecture, to study hikimono rokuro (a traditional Japanese woodturning technique) as well as urushi lacquer techniques.
Currently, I work at a lacquerware company while also creating my own pieces, which I exhibit and sell at craft fairs.
What draws you to urushi ?
What fascinates me most about urushi is that it is a natural sap derived from trees.
It has a unique deep luster and allows for delicate decoration. It’s more than just a coating - countless techniques have been developed over generations, not only for protection but also for ornamentation.
The fact that these traditional methods have been passed down through the wisdom of our predecessors and are still practiced today is incredibly inspiring to me.
How do you decide which lacquering technique to apply to each object?
My main focus is on creating round forms using the hikimono rokuro technique. One of the characteristics of this technique is that it allows me to finish the piece beautifully without damaging the fine grain patterns of the wood. I then apply the fuki-urushi technique - a method that involves layering thin coats of urushi - to complete the piece. This technique allows the wood grain to remain visible through the translucent amber layers of lacquer, making it perfect for highlighting the natural beauty of the wood.
What role does the notion of time play in your practice?
I was taught that “urushi is alive.” The fuki-urushi technique I use involves applying many thin layers of lacquer. If the layers are too thin or too thick, the finish will not turn out well. Similarly, if the room is too hot or cold, or if the humidity is too high or low, the lacquer will not cure properly. Each step must be done patiently and carefully, and this takes a lot of time - but I believe that time is essential in building a deep connection with the piece I’m creating.
How does your environment influence your work and your choice of materials?
I grew up in the countryside, where forests, trees, insects, birds, and the changing seasons were a natural part of my everyday life. In Yamanaka Onsen, where I studied, the tradition of woodturning dates back over XNUMX years. Historically, kijishi (woodturners) would travel in search of quality wood. In lacquerware production, wood is an essential and irreplaceable material. Lacquerware is often created through a division of labor - people who cut the wood, turn the base, apply the lacquer, add decoration, and so on. I believe this cultural tradition was born from the cooperation of many skilled hands.
For the Urushi Lacquer Selection, you are presenting a small sake vessel. Could you tell us about it and explain the techniques used ?
The piece I am exhibiting is a katakuchi made of zelkova (keyaki) wood, a type of traditional sake pourer. The base was turned using a wood lathe and then finished with hand carving. The outside of the vessel was finished using the fuki-urushi technique, with a subtle gradient from green to brown to black. I hope the viewer can also enjoy the gentle ripples on the surface of the sake when it’s poured into the vessel.
I use a technique called bokashi-nuri (gradation coating). In the very first step of applying lacquer to the wooden base, I create the gradient using two colors of lacquer and a brush.
What kind of relationship would you like users to have with your objects ?
The concept behind my work is “lacquerware that blends into everyday life". I hope my pieces gently accompany people during their daily meals, and that the moment someone uses one of my bowls or vessels becomes a quiet, comforting part of their day.
- Location: Japan
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