OBJECT JEWELLERY: pieces to wear or display
Inspired by traditional Japanese symbols and artefacts, I have abstracted and transformed their recurring motifs into object jewellery as pieces to wear or display. Each piece is unique created through my employing substances and means reminiscent of traditional materials, such as carving and polishing black buffalo horn, which recalls lacquerware; mammoth ivory as a substitute for protected ivory; and gems that evoke the profound chromatic heritage of traditional Japanese jewellery.
As in architecture, which I have practised for over forty years, the scale of my jewellery is set in relation to human physiology. Particularly for this series of “WAGASHI”, I set the scale to a size that fits into the mouth, as I am much inspired by traditional Japanese sweets called Wagashi. I am especially compelled by the size variation hitokuchi, which means a “mouthful” - a morsel that can be ingested whole, all at once, without first taking a nibble.
The perception of space is marked by architectural elements which compose our surroundings, and the recognition of that space is linked to the scale of human physiology.
The work of MAQUETTE 1:1 consists of nine triptych object-brooches to wear or display, 27 single pieces in all. They are inspired by architectural ornaments and carved out of beech wood and finished with Japanese Urushi lacquer in satin and high gloss, paying Homage to the oldest surface treatment used for temples and shrines in ancient Japan.
The design of the brooches/objects evolved from three elements: cross sections of baseboard, chair or handrails and crown mouldings. These components define and frame a space conceptually, connecting floor to wall and wall to ceiling or handrails that escort human movement in space. The profiles are designed and arranged; some have been taken from existing examples, all true to architectural scale, therefore the title MAQUETTE 1:1.
The fascinating beauty of shapes in numerous variations is revealed by dissecting mouldings that are otherwise applied longitudinally in a room, and by viewing the sections, one is able to imagine how complete mouldings may appear in a room. The segments frozen in time as abstract shapes, awaiting the moment of transformation as an architectural ornament, portray perhaps an analysis of the designing process or a narrative of metamorphosis.
My interest in creating this composition is to reveal an otherwise imperceptible core as a visible and tangible shape, experimenting with the possible harmony or maybe discord by shifting the scale through repositioning ornaments taken directly from architecture to the human body, and to validate its allure as a body ornament which synchronically brought to light by an unorthodox method of designing jewellery.
Series ; IONICO; BAROCCO;
or exploration of classical order
; IONICO; BAROCCO; is a trilogy of diptych object-brooches to wear or display, inspired by the transformation of architectural styles of classical Ionic toward the Baroque period, juxtaposing and parallelizing selected distinctive characteristics and spirits of the time. I have extracted and portrayed these intriguing elements in a work of art jewellery.
The canon of the classical order was highly respected in the Renaissance period, which is reflected clearly in its architecture. Then came renowned Baroque architects who challenged this rigorous order: they explored, interpreted, deconstructed, reordered, extended, diffused, condensed, twisted, and intertwined; the style of Baroque freed itself from the stringent classical order, giving birth to dynamic and fluid spaces two thousand years following the ionic period.
The three Diptych brooches, hand-carved out of Buffalo Horn, Elforyn, and Juma, each paired with selected characteristic fragments extracted from Greek-ionic and Italian-baroque architectural spaces and compositions. The titles are given to each, taken from site-specific churches or symbolically after the names of Greek deities which have impacted their extensive influence on cultures then and thereafter.
Throughout the process of creating this particular work, I have been captivated by human’s generous ingenuity and ability to adapt. All distinguished civilizations were established where various cultures came together, whereupon conflicts were not excluded thereby. One says that by observing the past, we may foresee the future. Many civilizations have managed to cherish and survive through foremost severe hurdles. How ample this ability is yet present is now questioned more than ever.
From ancient times in Japan, Miyadaiku-carpenters, specially trained to construct shrines and temples, practised wood joining methods called Kumite or Tsugite without the use of any metal parts to connect timbers. The joining elements are directly cut and shaped in the wood itself and inserted like complex puzzles, yet occasionally, joints are made using an additional independent wood element to secure them more steadily.
This extra element–one may call it a “foreign body “or “the third element” inspired me to create this series of object brooches to wear or display. For “the third element”, I have chosen traditional Japanese motifs that I often apply to my composition, such as cocoon, calabash, or fava bean.
For the materials, I have chosen again to carve and polish substances reminiscent of traditional Japanese artefacts, such as black buffalo horn and mammoth ivory, as I used for the “Wagashi” series. Especially for this series, I have chosen amber comprehensively as the third element–this warm yellow colour evokes the appearance of tortoise shells, which were extensively used for hair ornaments called Kanzashi in the past.
With nearly fourty years of experience as an architect, it is very natural that I should be interested in this traditional architectural method of joinery.
Mutually, the concept of “the third element”, which implies the interrelationship of the complexity and the diversity of our surroundings, captivated me to create this series.
Ise, one of the most sacred shrines in Japan with its roots back in the 5th century, therein enshrined is a symbol of the Goddess who gave birth to the land of Japan. This serene sanctuary is also known for its pure form of ancient sacral architecture.
This shrine, once well supported financially by the patrons of aristocrats and warlords who eventually lost their power due to ongoing wars under the feudal system, caused the Ise financial hardship.
To withstand this existential threat, a group of priests launched a venture in the 18th century with a highly successful campaign to bring the Pilgers back, in the style of today’s all-inclusive package tour operated by travel agencies. The Pilger package included fare, lodging, board, memorabilia, and entertainment - even erotic entertainment- all for successful promotion to gain the financial strength to maintain the shrine.
This juxtaposition of “profane and profound” interested me to create a diptych object-brooch to wear or display, one inspired by the serenely composed floorplan of this beautiful shrine and the other based on the form of Hyôtan (Calabash) - a quite common and beloved motif used in textile, furniture, food, decoration, etc., in everyday life of ordinary people.
With this work, I participated in The Contemporary Metal Art Biennial, METALLOphone in Vilnius, Lithuania, in 2020, with its theme of MUSEUM.
My response to the theme was sacral architecture preserving and exhibiting spirituality.
Perception of space is marked by architectural elements which compose our surroundings, and the recognition of that space is linked to the scale of human physiology.
MAQUETTE 1:1=1, a derivative and extension created on the same concept as the work of MAQUETTE 1:1, are individual and single pieces evolved from cross sections of mouldings carved out of beech wood. Pieces are likewise with Japanese Urushi-lacquer applied, paying Homage to the oldest surface treatment used for temples and shrines in ancient Japan, yet finished with high gloss on all sides.
The design of the object brooches to wear or display, evolved from three elements: cross sections of baseboard, chair or handrails and crown mouldings. These components define and frame a space conceptually, connecting floor to wall and wall to ceiling or handrails that escort human movement in space. The profiles are designed and arranged; some have been taken from existing examples, all true to architectural scale, therefore the title MAQUETTE 1:1.
The fascinating beauty of shapes in numerous variations is revealed by dissecting mouldings that are otherwise simply applied longitudinally in a room, and by viewing the sections, one is appealed to imagine how complete mouldings may appear in a room. These mouldings are widely used as decorative elements, and they have the function of marking transitions that join varied materials.
My interest in creating this composition is to reveal an otherwise imperceptible core as a visible and tangible shape, experimenting with the possible harmony or maybe discord by shifting the scale through repositioning ornaments taken directly from architecture to the human body, and to validate its allure as a body ornament which synchronically brought to light by an unorthodox method of designing jewellery.
Lovers conveyed their passion through poems written on washi paper, carefully folded and tastefully tied on a selected twig; this whole creation as a gift was exchanged in the court culture of the Heian period in Japan (794-1185). Later in the Muromachi period (1336-1573), this tradition of elaborately folded paper further developed and flourished, establishing it as an essential ritual for gift-wrapping among noble persons. Each piece of paper was pleated and gathered ceremonially and stylishly; this practice of artful handwork was named Origata.
Inspired by this long-lost tradition of Origata, I have created art jewellery by folding washi paper in various shapes and silhouettes, composing nine object brooches to wear or display as a series ENCLOSED. The pieces are sealed with numerous layers of Japanese Urushi-lacquer to make the washi paper even more enduring to be worn as jewellery.
Following the original function of Origata as packaging, I have enclosed a phrase named “Makura kotoba” in each brooch. Makura Kotoba, or “pillow words”, a head phrase at the beginning of a Waka-poem established early in the eighth century, links meanings, associations or sounds, functioning as a tool with which the poet could imply the themes and emotions in his poems. In each, I have selected a particular Makura Kotoba related to the six senses of Seeing, Hearing, Touch, Taste, Smell and Mind.
“What is served today?”
“And how is it served today?"