Each time I interact with the lacquer, it responds, and I, in turn, respond to its changes — lacquer-based creation is a process that takes place through a back-and-forth exchange, much like a dialogue. I see my relationship with this material as a “collaborative creation” with lacquer. While oil painting is a medium that can relatively faithfully output one’s intentions, lacquer presents me with reactions that cannot be controlled, such as changes in color and the layers of the coating. In this way, I am often swept up in the changes and responses that the material brings. However, I find this process very comforting and precious. I do not view lacquer as merely a material; rather, I perceive it as having will, as though it possesses a personality of its own, independent and self-sustaining. What is it like to interact with a material that, unlike human beings, cannot communicate in words? How do I respond to the subtle reactions lacquer communicates?

While there are specific approaches, such as exploring the relationship between polishing, color changes, and the depiction, I also attempt to become closer to the material, lowering myself from the privileged “human” standpoint to understand it better. Finding meaning in the exchanges that occur through scars is one such example. These acts might be akin to a kind of spell, but I treasure them to preserve the sensation of hearing lacquer speak, even if just for a moment. As I continue to build this relationship, my themes of creation have expanded to encompass connections with non-human entities and dialogues with nature. Through lacquer, my awareness of creation itself is reshaped, and the very act of considering my connection with the world through lacquer becomes my “collaborative creation.”

Lacquer painting, known as urushie (漆絵) or shitsuga (漆画) in Japanese, is a form of painting that developed in East and Southeast Asia. It originated in Vietnam in the early 20th century and later influenced artistic expressions in China in the latter half of the century. In both Vietnam and China, lacquer painting is recognized as a distinct genre within painting. In contrast, in Japan, where lacquer has traditionally been closely associated with craft, lacquer-based two-dimensional works primarily evolved within the framework of craft rather than as paintings. Regardless of the country, the emergence of lacquer painting was shaped by the encounter between Western artistic concepts introduced in modern times and the traditional craft culture of indigenous lacquer arts. Lacquer painting is a relatively new artistic expression that has emerged from the intersection of different cultures within the contemporary context of East and Southeast Asia.

— The Lacquer Cultural Sphere and Europe
The development of lacquer painting across regions was influenced not only by interactions among East and Southeast Asian countries such as Vietnam, China, and Japan but also by the transmission of artistic movements through France, which played a central role in Japonisme and the Art Deco movement. The exchange of people, techniques, and ideas also played a significant role. The evolution of lacquer painting reflects a complex interplay of cultures, technologies, and systems that transcended national borders, resulting in a rich and dynamic fusion of artistic traditions.

The creation of a lacquer painting progresses through multiple stages. The basic cycle involves first preparing a base layer by mixing diatomaceous earth with lacquer, then applying the imagery, and finally completing the finishing process. Once the lacquer dries, a sanding process is essential to enhance adhesion for the next layer. In the final polishing stage, lacquer is rubbed into microscopic scratches, then wiped away, and the surface is gradually polished using increasingly fine whetstones in a repetitive process.

Through these steps, the time spent sanding the lacquer surface with water and whetstones and polishing it with the palm of my hand far exceeds the time spent painting with a brush. This continuous cycle of sanding and polishing feels as if it extends my bodily perception into the time of lacquer itself. The prolonged engagement with this process has also served as a gateway to a heightened awareness of the presence of nature.