Yesterday, the Japan Traditional Kogei Exhibition (Tokyo) successfully concluded. I would like to express my heartfelt gratitude to everyone who visited the exhibition and supported me.
On the day of my venue duty, I was given the opportunity to deliver an "artist talk" to introduce my work to the visitors. Since I am not accustomed to speaking in front of an audience, I gave the talk nervously while reading from my notes.
For those who were unable to attend the venue in person, I would like to share the transcript of my talk here, along with the thoughts and background behind the work. It is a bit lengthy, but I hope you enjoy reading it alongside the photos of the piece.

About Myself My name is Kaori Sugano. Born in Hiroshima City, I spent seven years in Kagawa Prefecture learning the foundations of urushi (lacquer) craftsmanship and the vibrant culture of colored lacquer. Afterward, I returned to my family home in Hiroshima and spent several years focusing on creating works for open competitions and group exhibitions. Following that, I studied abroad for a year at an art school in Barcelona, Spain, broadening my perspective by visiting museums across Europe to view lacquer works.
Upon marrying, I moved to Tokyo. I temporarily paused my artistic practice in 2011 to raise my three children, but I resumed creating works in the spring of 2024. I made my return to exhibitions at Art Fair Tokyo this past March, and currently, alongside creating pieces for upcoming exhibitions, I also craft wearable accessories and present them on my self-operated online store.
While honoring the innate beauty of urushi as a natural material, I aim to create expressions that evoke a sense of connection from the past to the future.

Concept and Overall Design Allow me to talk about my accepted piece for this exhibition. At the initial concept stage, I first had a clear image of the form: "I want to create a spherical box with a presence like the Earth." Hand in hand with that shape, I decided on the overall color palette and design, eventually refining the details into the Choshitsu (carved lacquer) pattern that adorns the surface.

Techniques: Kanshitsu and Choshitsu This piece incorporates two major traditional techniques.
The first is "Kanshitsu" (dry lacquer), which is used to shape the main body. Kanshitsu is a technique where multiple layers of hemp cloth are applied over a prototype made of clay or plaster using lacquer, and once dry, the inner mold is removed to leave a lightweight shell. Unlike wood, it allows for the creation of smooth, seamless curves, and I regularly use this method to build my bases. For this piece, I crafted the prototype by carving a portion of a styrofoam sphere.

The second technique is "Choshitsu" (carved lacquer), applied to decorate the top panel. I applied approximately 50 layers of lacquer to create a color gradation shifting from deep blue to white. This layer, about 3 millimeters thick, is precisely carved using blades and then polished with several types of whetstones to produce soft shadows and subtle color transitions. Choshitsu is my primary technique. Since only one layer can be applied per day, it requires an exceptional amount of time to complete.
Thoughts Embodied in the Work By combining these techniques, I sought to three-dimensionally express the subtle light filtering onto the tranquil water surface of a tropical sea. I created this piece hoping that when placed in a room, it would gently radiate the aura of a tropical ocean from that very corner.
I hope you can feel the distinct texture crafted by hand and the rich depth generated by the layers of lacquer. This concludes the content of the talk I delivered on the day.
My sincere thanks go to my friend, a former reporter, who captured the photos of the day, as well as to everyone who listened so warmly.

On the opening day, artists gathered from all over Japan, and study sessions as well as receptions were held. While I usually work quietly alone in my home studio, being able to reunite with my respected teachers and senior artists after a long time made it a stimulating and fulfilling period—like an annual festival.

Following the Tokyo exhibition, the show will tour 10 cities nationwide. Due to venue space constraints, the full collection is shown only in Tokyo, but my work is scheduled to be exhibited at four venues: Miyagi, Shimane, Kagawa, and Hiroshima. If you live near any of these touring locations, I would be delighted if you stopped by.
Please check here (Official Exhibition Website) for details on the national tour.

Starting with Art Fair Tokyo in March to the submission for the Japan Traditional Kogei Exhibition in July, this past year has been an unprecedentedly whirlwind time.
Having safely crossed a major milestone, I am finally able to catch my breath.
While I have stepped away from the intense and packed schedule for now, I look forward to dedicating myself to creating works for the next exhibitions.
I would be truly grateful for your continued warm support.

2026.09.16