A New Form of Lacquer Painting Beyond Tradition

Ayumi Okita’s paintings unfold a distinctive world in which the boundary between nature and humanity grows porous, giving rise to dreamlike and atmospheric scenes. The multilayered surfaces—built through the repeated application of urushi lacquer—evoke the shimmer of water or the rustle of a forest, guiding viewers into the liminal space between reality and the imaginary. The figures and creatures that appear within these works are intertwined with natural cycles and mythological narratives, suggesting that human existence is but one part of a larger environmental continuum.
The lustrous, profound textures unique to lacquer gradually increase in translucency over the course of several years, allowing the hidden layers and colors beneath to emerge. This slow transformation seems to follow the breathing rhythm of nature itself, endowing the works with a singular sense of depth and vitality.
Originally trained in oil painting, Okita’s encounter with traditional urushi techniques during her graduate studies became the turning point that led her to begin creating lacquer paintings. Engaging in continuous experimentation, she mastered the technical skills necessary to understand and handle the material with freedom, while searching for ways to articulate a contemporary sensibility through urushi. Her pursuit culminated in a doctoral dissertation of more than 280,000 words, titled “The History and Production Theory of Lacquer Painting,” in which she rigorously examines the development of lacquer painting through artworks and artists across history. The knowledge gained through this research—rooted in historical context—fortifies her practice, as she brings together the three strands of tradition, technique, and contemporary expression to forge an uncompromising artistic path.

Kichitaro Inami
Curator, Arts Maebashi