Crossing Perspectives

Based in Kyoto, Jorie Johnson creates wool felt works while also participating in the research and reconstruction of the Shosoin Kasen felts. Through the study of Silk Road felt traditions and collaborations with materials such as leather, lacquer, and plants, she continues to expand the expressive possibilities of wool.

Thor Holvila, a ceramic artist from Sweden, creates bonsai pots that merge Nordic perspectives on nature with Japanese bonsai culture. Through his training in Tokoname, he gained a deeper understanding of the essence of bonsai pots and continues to work internationally while pursuing expressions rooted in his own cultural background.

“ikasu” is a textile art project that reconstructs vintage kimono that have fulfilled their role, transforming them into art that continues to exist beyond time. By translating the memories, craftsmanship, and stories embedded within kimono into contemporary spaces, the project creates works intended to be passed down to future generations.

My Introduction to Bonsai, Which Began with a MovieI first began my journey into the art of bonsai at the age of 13 when I received my very first tree from my parents as a birthday gift.

In 2024, he received official permission from Japan’s Agency for Cultural Affairs to produce Japanese swords, becoming the first foreign swordsmith to be officially recognized. He combines sensitivity shaped by the Alps with deep respect for Japanese tradition to explore new possibilities of the katana.

Handwoven textiles embody a unique intersection of material and imagination. Hannah Waldron experienced Japanese crafts such as kasuri weaving and tsutsugaki, focusing on their dyeing and resist processes. These crafts rely on natural materials and labor-intensive processes developed through dedicated craftsmanship.

Kathleen Reilly, a Scottish metalworker, explores the fusion of Japanese craftsmanship and Western conceptual design. Through her experience in Tsubame-Sanjo, she developed the knife “Oku” in collaboration with local artisans, gaining international recognition. She also works on projects that connect cultures between the UK and Japan.

This article introduces Belgian artist Trees De Mits and her experiences in Japan. It explores how her residency in Shigaraki and exposure to Japanese literature influenced her perception of materials and aesthetics. The piece explains how themes of the body and sensory experience are reflected in her work.

Sarah Brayer is an artist who developed a unique practice after encountering washi. Working in Echizen, she explores expressions of light and water through a meditative creative process. She also created the fusuma work “Lapis Waterfalls” at Komyo-in Temple in Kyoto, integrating the artwork with the surrounding space.

Andoche Praudel, originally from France, turned to ceramics after encountering Shozo Tanida. Influenced by Japanese culture and literature, he explores Japanese aesthetics through the creation of Raku tea bowls.

Robert Yellin has introduced contemporary Japanese ceramics to the world through encounters with artists across Japan. He explains their value and spirituality through regional clay, historical context, and connections to tea ceremony and Zen.

The article recounts her experience in an artist-in-residence program at the Shigaraki Ceramic Cultural Park. Through production, firing, and interaction with international artists, she deepened her understanding of Japanese aesthetics such as “ma” (emptiness) and the acceptance of natural unpredictability in materials.

Textile designer Riddhi Jain discovered Arimatsu Shibori through the 11th International Shibori Symposium, where she encountered Japan's craft philosophy and the dedication of its artisans. At STUDIO MEDIUM, she reinterprets Japanese shibori and Indian Bandhani in a contemporary way while exploring the future of craft and the challenges of passing on traditional techniques.

Nicolas Soergel of Chinriu Honten Co., Ltd. promotes Japan’s traditional industries to a global audience through NIHON ICHIBAN, a brand dedicated to international markets. Pointing to challenges such as a shrinking domestic market and the shortage of successors facing traditional businesses, he shares his vision for supporting succession and creating systems to nurture the next generation of artisans.

While working at Mizutori Industry Co., Ltd., a traditional geta manufacturer in Shizuoka, Jonathan Barnabe has encountered the craftsmanship of artisans across Japan. Reflecting on the spirit of Japanese craftsmanship and the value of “Made in Japan,” he also shares his concerns about the shortage of successors in traditional crafts and his hopes for preserving these skills for future generations.

Steve Beimel speaks about the spirit of Japanese craftsmanship and the cultural value of Japanese crafts, while warning of the growing threat posed by the declining number of artisans. Through JapanCraft21, he supports the training of future craftspeople and the revitalization of traditional techniques, working to ensure that Japan’s craft heritage is passed on to future generations.

After moving to Japan from France, Eric Chevalier apprenticed under Yasuhiro Hirakawa, a master blacksmith in Sakai, becoming the first foreigner to complete a full five-year blacksmithing training program. Today, while running his own brand, "De Sakai," he actively promotes Sakai cutlery and traditional Japanese culture both in Japan and abroad.

Textile researcher Tulika Ranjan explores Yuzen dyeing out of a passion for Japanese textile culture, studying its history, techniques, and regional characteristics. Through the Kyo-Yuzen Saree Project and field interviews with artisans, she views Yuzen as a meaningful medium for cultural exchange and future preservation.

Textile designer Vera Bracklo stayed at Shimokawa Orimono in Yame City, Fukuoka Prefecture, where she reported on the production process of Kurume Kasuri and its ties to the local community. While addressing challenges such as the preservation of traditional techniques, a shortage of successors, and the maintenance of tools, she discusses the importance of human connections in sustaining this craft.

French designer Mathilde Roseanne Bregeon is based in Kyoto, where she collaborates with Japanese artisans and continues her work to discover new value in traditional crafts. By bridging the gap between East and West, tradition and innovation, she explores the potential of crafts suited to contemporary lifestyles.

John Oglevee, a Noh performer and performing artist, reflects on his own experience of being captivated by Noh and discusses its essence and depth. While highlighting the importance of the diverse artisans and skills that underpin Noh, he introduces initiatives aimed at its international development through “Theater Noh.”

Drawing on reporting experience, this article examines the challenges facing the washi industry, including a shortage of successors, a shrinking market, and difficulties in expanding overseas. It explores the potential for preserving washi culture for future generations through initiatives such as artisans’ efforts to improve quality, custom orders, and educational programs.

Japanese painter Allan West writes about his feelings toward Echizen washi—an indispensable element of his creative work—and his experiences at the grand festival honoring Kawakami Gozen, the goddess of paper, which he attended in 2018. Through his respect for the 1,500-year-old tradition of washi-making and its artisans, he discusses the value of Echizen washi and the importance of preserving this heritage.

Clémentine Sandner, a French designer based in Kyoto, has been creating bags from repurposed vintage fabrics ever since her encounter with Japanese kimonos and obi sashes. She reflects on the mutual influence between Japanese and French textile cultures, as well as on craftsmanship and the value of sustainable manufacturing.

David Stanley Hewett discusses the preservation and continuation of Japanese culture and traditional crafts as an essential part of national identity. Over more than 30 years in Japan, he has traveled across the country, engaging with artisans and artists while developing his own creative practice. His collaborations with Wajima lacquerware artisans and Sakai Glass also incorporate traditional Japanese craftsmanship into contemporary artworks.

Rudge Jeff has taken over the Iijima Workshop in Naka City, Ibaraki Prefecture, and is dedicated to crafting the lampshades for large lanterns. He discusses the manufacturing process using bamboo and washi paper, the challenges of mastering the techniques, and his determination to continue his work while engaging closely with the materials.

Sally Hancock works at “AiAii,” a natural indigo dyeing workshop on Awaji Island, where she handles everything from indigo cultivation to dyeing, and shares her reflections on Japanese craft culture. She highlights the sustainable values found in natural indigo and the culture of mending, as well as the potential for applying traditional techniques to modern life.