ABOUT KINTSUGI
PHILOSOPHY, PROCESS, APPROPRIATION

PHILOSOPHY

Making ceramics inevitably leads to breaking ceramics - and every country has its own repair tradition. Conventional forms of repair are most concerned with restoring function and a ‘like-new’ appearance: using transparent glue and invisible techniques to make traces of breakage disappear. Chinese and Japanese ceramics, on the contrary, have a rich history of visible repairs: from metal staples often seen in Chinese wares to the gold lines of Japanese kintsugi.

Following the principle of wabi-sabi (‘the beauty of imperfection’), this type of visible repair draws attention to the whole of an object’s history. The gold lines celebrate cracks and flaws instead of trying to hide them. This aesthetic appreciation of broken and repaired objects originated in 14th century Japan, the time of tea master Sen No Rikyū. He championed cracks and damage as expressions of a dynamic life and valued austerity, frugality and local craft.

PROCESS

In kintsugi, mending broken ceramics deserves the same level of care and attention as went into their creation. It is a lengthy, precise process with roots in lacquerware, specifically the Japanese technique of maki-e: applying urushi and sprinkling it with metallic powders resulting in bright gold lines.

Urushi is the sap of the poison oak, a natural but toxic material that has been used as a protective lacquer for over 8000 years. Producing urushi is very labour-intensive. The sap is harvested by hand-carving the bark every five days between June and November, after which it is filtered and purified. One tree will produce no more than 200 grams of purified urushi during its 15 year life span. In comparison, the average maple tree produces about 2 liters of syrup every season, adding up to over 160 liters in its lifetime.

Once processed, urushi lacquer is applied in several layers, each layer cured separately in controlled humidity and temperature conditions. Curing takes anywhere from hours to weeks and if not cured correctly, urushi remains toxic. This is why a single repair can take months to complete, and why it is not a cheap process. It is also why it has been tough for Japanese craftspeople to make a living from kintsugi alone, and why younger generations have not been keen to take over.

APPROPRIATION

In the last few years, a contemporary interest in kintsugi has reignited its popularity beyond Japanese borders. Kintsugi masters have taken to teaching and opening up their practice to international students and customers. Information and materials are becoming more readily available to those interested. Craftspeople like Makoto Fujimura (A Theology of Making) and Yutaka Ohtaki (Object Therapy) are finding a new audience through online and social media, and are keen to share their work and the philosophy behind it.

But as more people become aware of kintsugi through its current popularity, the philosophy and tradition behind it is at risk of becoming diluted. I purposefully don’t use traditional materials and processes, and would rather define my work as ‘transformative repair’: by using the word kintsugi I feel I contribute to that dilution.

On the other hand, not mentioning kintsugi would be denying the impact this Japanese craft and philosophy has had on my practice. Moreover, by using the term, I hope to reach people that might otherwise not be aware of or understand the significance of this traditional Japanese craft, its specific characteristics, heritage and meaning.

I don’t take on kintsugi repairs for others, and would refer anyone interested in the list of genuine, qualified craftspeople below who do. I have also written more about how I use transformative repair in my practice.

INDEX OF QUALIFIED CRAFTSPEOPLE

  • London-based ZIYO offers a traditional kintsugi repair service.

  • London-based Mizuyo Yamashita teaches traditional kintsugi techniques in person and online, and takes in broken ceramics for repair as well.

  • French fine art restorer Myriam Greff uses a variety of traditional techniques to repair your broken ceramics.

  • Renowned kintsugi master Yutaka Ohtaki (who works with Guy Keulemans on Object Therapy) runs the 100-year old Urushi Ohtaki store in Murakami. The shop front alone is worth a look, but Ohtaki also offers repairs and workshops.

MORE INFORMATION