Urushi - Washoku | Japan Food | IS JAPAN COOL?-Travel and Culture Guide

Life as an artist enchanted by the beauty of urushi

“I want to share the beautiful world of urushi with as many people as possible.” Suzanne Ross continues to bring this passion to her role as an active urushi artist in Wajima, Ishikawa Pref. She first visited Japan in 1984, not long after seeing a show of Edo period art in London where she grew up.
“An elegant urushi-coated inkstone box (suzuri-bako) was on display at the exhibition. Truly exquisite maki-e — gold and shell inlaid into an urushi ground— it felt like I was looking into the universe. I was irresistibly attracted by the beauty of the art and decided to visit Japan to learn this technique for three months or so. (laughter) Who could imagine that I would stay here for 30 years to learn it?”
Suzanne’s studio and the house were an old abandoned farmhouse and a cattle-shed. With the help of her husband Clive and friends, she was able to renovate the buildings. Suzanne and her husband, who moved to Wajima to be with her, support each other and are still living there today with their daughters.

Desire to help people enjoy urushi crafts more freely

Suzanne is not only engaged in traditional urushi crafts called Wajima-nuri but also in a wide of vary work. Such innovative efforts reflect her devotion to introducing the potential of urushi lacquer arts to a wider world.
For example, she produces easy-to-use serving trays for various foods including sushi, bread, and cookies that appeal to the younger generation. She also makes necklaces and earrings for casual everyday wear which appeal to women of various ages. Her jewelry with maki-e decoration on precious gems introduces Japanese urushi culture to people overseas.
“Wajima-nuri urushi bowls are for rice and miso soup but it’s fine to use them for ice cream, salad and even as a flower vase. If you find your own favorite use, it will be a fun accent to your life. Ideally, you would use urushi pieces for a long time and by doing so, bring out the innate beauty within the piece which only comes to light after an age of loving use. “If you experience the warm, silky, touch of urushiware, like the skin of a baby, you’ll immediately be a fan. I’m confident about that” she says.

Believing in urushi potential and seeking challenges

Wajima-nuri urushi craftsmanship can be divided into three steps — making kiji (the wooden substrate), nuri (lacquering), and kashoku (decoration). These are split into smaller steps, each handled by an expert who focuses only on his/her role. Traditionally, Wajima-nuri ware is finished by many experts.
“In my case, after the wooden base is delivered, I take care of all the other processes. In this way, I have more creative freedom within the process and can take full responsibility for my work. Moreover, most master craftsmen have reached an advanced age and the number of skilled successors is limited. This accompanied with the dwindling number of tool making craftsmen who support us, is quite a serious problem.”
Suzanne hopes that this wonderful urushi culture won’t fade away in Japan. She believes it is crucial to dispel the conventional image of urushi crafts and makes it her mission to produce original works. “I have continued this long only because urushi is so beautiful. Urushi can be used as an adhesive, made into a form or used for decorative purposes. It’s a wonderful material. Urushi still has so much potential, that’s why I take up the challenge every day.”