Kumite ni Tsugite by Fumiko Gotô
Exhibition
/
30 Sep 2020
-
30 Oct 2020
Published: 31.07.2020
Hannah Gallery
- Mail:
- hannahgallery
klimt02.net
- Phone:
- + 34 933687235
- Management:
- Amador Bertomeu, Leo Caballero
Kumite ni Tsugite is the first solo show of Fumiko Gotô at Hannah Gallery. The artist is presenting 15 delicate brooches as a result of her research in the art of joining elements by the carpenters trained to construct shrines and temples. Her selection of materials are carved and polished substances reminiscent of traditional Japanese materials, such as black buffalo horn, mammoth ivory, and especially for this series, and finally amber for most pieces as the “foreign” element.
Artist list
Fumiko Gotô
In 2018 we discovered some of the works of Fumiko Gotô, we didn't know the artist by then but we knew it was a very special work. As soon as possible we contacted her to know more work and contrast who was behind those pieces. Once we saw more works, our first impression was confirmed. So far a short career as a jewelry artist, but with a feeling for the subject that will be very consistent. No doubts at all: we arranged a meeting at the gallery to talk with her. At this first meeting, we discussed the possibility to present a special exhibition project in the gallery.
Soon after, Fumiko presented us with the draft of a very interesting project that took shape after one year of intense work. Tradition, Japanese culture, high skilled crafts, amber as a foreign element, architecture, buffalo horn, design, mammoth teeth, sensuality, minimalism... every time we look at the works we discover new elements, new details, from the piece to the packaging, Fumiko looks for the perfect and final artwork, independent and also part of the whole.
Fumiko Gotô has over thirty years of practice in architecture, she has worked at different scales and with various typologies. Recently she has taken on a new scale and genre in creating jewellery, inspired by her native Japanese background.
Kumite ni Tsugite in the artist's words:
From ancient times in Japan, Miyadaiku - carpenters specially trained to construct shrines and temples - practiced a wood joining method called Kumite and Tsugite, without the use of any metal parts such as nails or bolts to lengthen or to connect timbers. The art of this joinery was well established by the Edo‐Period (1603 - 1868) and it is still practiced today to build sacred edifices throughout Japan.
The joining elements of Kumite and Tsugite are directly cut and shaped in the wood of the piece itself and inserted like complex puzzles to connect timbers. Tsugite is mainly used to extend a length horizontally and Kumite is for a vertical joint.
Occasionally joints are made using an additional independent element, also cut out of wood, and inserted to secure joints permanently.
This extra element made from another piece of wood - one may call this a “foreign” or “the third” element connecting timbers together - has inspired me to create works based on this concept of a “foreign body”. Instead of this ‘foreign element” I have substituted motifs that I often apply and refer to in my creative process, such as Mayu (cocoon), Hyôtan (calabash), or Soramame (fava bean). These motifs are widely cherished and used in traditional Japanese textiles, utensils, and furniture to name a few.
As materials for Kumite ni Tsugite, I have chosen to carve and polish substances reminiscent of traditional Japanese materials, such as black buffalo horn, which recalls black lacquer tableware; mammoth ivory, preciously preserved over 10,000 years in Siberian permafrost, as a substitute for now protected ivory which was widely used for Netsuke carvings. Especially for this series, I have chosen amber for most pieces as the “foreign” element; its warm‐yellow colour evoking the chromatic presence of protected tortoise shells, which were extensively used for hair ornaments called Kanzashi in the past.
The artistic techniques of Kumite and Tsugite began in the 7th century in Japan and now, like many other traditional handcrafts, face the question of its survival.
With over 30 years of experience as a practicing architect and designer, it is very natural that I should be interested in this traditional craft which inspired me to create this work, and as well I hope this series of my jewellery raises an awareness of the presence of this highly sophisticated art‐Joinery in the art‐jewellery genre.
Fumiko Gotô, September 2020
- The Third Element by Ulrich Horndash. A vision of the Kumite Ni Tsugite works
- An interview with Fumiko Gotô by klimt02
Soon after, Fumiko presented us with the draft of a very interesting project that took shape after one year of intense work. Tradition, Japanese culture, high skilled crafts, amber as a foreign element, architecture, buffalo horn, design, mammoth teeth, sensuality, minimalism... every time we look at the works we discover new elements, new details, from the piece to the packaging, Fumiko looks for the perfect and final artwork, independent and also part of the whole.
Fumiko Gotô has over thirty years of practice in architecture, she has worked at different scales and with various typologies. Recently she has taken on a new scale and genre in creating jewellery, inspired by her native Japanese background.
Kumite ni Tsugite in the artist's words:
From ancient times in Japan, Miyadaiku - carpenters specially trained to construct shrines and temples - practiced a wood joining method called Kumite and Tsugite, without the use of any metal parts such as nails or bolts to lengthen or to connect timbers. The art of this joinery was well established by the Edo‐Period (1603 - 1868) and it is still practiced today to build sacred edifices throughout Japan.
The joining elements of Kumite and Tsugite are directly cut and shaped in the wood of the piece itself and inserted like complex puzzles to connect timbers. Tsugite is mainly used to extend a length horizontally and Kumite is for a vertical joint.
Occasionally joints are made using an additional independent element, also cut out of wood, and inserted to secure joints permanently.
This extra element made from another piece of wood - one may call this a “foreign” or “the third” element connecting timbers together - has inspired me to create works based on this concept of a “foreign body”. Instead of this ‘foreign element” I have substituted motifs that I often apply and refer to in my creative process, such as Mayu (cocoon), Hyôtan (calabash), or Soramame (fava bean). These motifs are widely cherished and used in traditional Japanese textiles, utensils, and furniture to name a few.
As materials for Kumite ni Tsugite, I have chosen to carve and polish substances reminiscent of traditional Japanese materials, such as black buffalo horn, which recalls black lacquer tableware; mammoth ivory, preciously preserved over 10,000 years in Siberian permafrost, as a substitute for now protected ivory which was widely used for Netsuke carvings. Especially for this series, I have chosen amber for most pieces as the “foreign” element; its warm‐yellow colour evoking the chromatic presence of protected tortoise shells, which were extensively used for hair ornaments called Kanzashi in the past.
The artistic techniques of Kumite and Tsugite began in the 7th century in Japan and now, like many other traditional handcrafts, face the question of its survival.
With over 30 years of experience as a practicing architect and designer, it is very natural that I should be interested in this traditional craft which inspired me to create this work, and as well I hope this series of my jewellery raises an awareness of the presence of this highly sophisticated art‐Joinery in the art‐jewellery genre.
Fumiko Gotô, September 2020
- The Third Element by Ulrich Horndash. A vision of the Kumite Ni Tsugite works
- An interview with Fumiko Gotô by klimt02
Hannah Gallery
- Mail:
- hannahgalleryklimt02.net
- Phone:
- + 34 933687235
- Management:
- Amador Bertomeu, Leo Caballero
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