photo: SUEMASA Mareo
work 2001-1
| Artist | YAMAMURA Shinya |
|---|---|
| Year | 2001 |
| Material/ Technique | Japanese lacquer, dry lacquer and turban shell on wood |
| Size/ Duration | H8.1 × W4.2 × D4.2cm |
| Copyright Notice | © YAMAMURA Shinya |
| Year of acquisition/ donation | 2003（作品購入年月日：2003/03/31） |
| Description | Born in Tokyo, Japan in 1960. Lives and works in Kanazawa, Ishikawa. Strongly impressed by MATSUDA Gonroku’s lacquer work that depicted a white egret using the eggshell technique, Yamamura decided to pursue lacquer art. He studied lacquer at Kanazawa College of Art and at its graduate school, participating in numerous group exhibitions while at college. After finishing the graduate course, he participated in many international exhibitions and won recognition. The characteristic of his works is that each work remarkably realizes varied expressions in a form that is small enough to be held on a palm of the hand. He is also characterized by bringing out possibilities of ever-changing material lacquer by his own hand in a careful yet bold manner, and he fuses various cultural roots in different regions and periods into abstract expression. His “Work” series is a group of works made by using various lacquer techniques: ‘maki-e’ (lacquer sprinkled with gold or silver), ‘hyomon’ (metal-sheet inlay), ‘rankaku’ (eggshell), ‘raden’ (mother-of pearl inlay), etc. Each work is so small that it can be held on a palm of the hand, and an animated microcosm is condensed in each of those small forms. Some works appeal beauty of lacquer on the surface as a painting material, showing serene luster of vermillion or black lacquer, while other works utilize lacquer as an adhesive for covering the surface with eggshells and turban shells to bring out different charms of various materials. He joins together such heterogeneous materials as brass, wood piece and deer hair thus stimulating viewers’ senses and enabling them to freely expand their imagination. While lacquer is unable to keep its shape by itself, he shows us infinite possibilities of the form, nature and impression of lacquer when it is combined with different materials. In recent years, most of Yamamura’s work has consisted of lidded containers, including the "Three-drawer tower shaped incense case, rankaku"; "Mountain shaped incense case, autumn color, colored lacquer"; "Cubic tea caddy, spiral design, silver saihi"; and the "Incense case, chrysanthemum design, maki-e". As in the “Work” series, these containers are practical objects created with a variety of decorative techniques. |
NOTES
This Collection Data page contains the works and materials in the collection of 21st Century Museum of Contemporary Art, Kanazawa, as of April 1, 2018.
Artists are listed alphabetically by artist’s surname.
Works and materials by the same artists are listed according to the date of the work in principle.
Works whose dates are unidentified are listed at the end of each item. Some works are not listed according to the date of work due to their relations.
The data of works and materials are listed in order of title, production year, material/technique/form, dimensions, donor’s name, copyright holder and credit for photograph.
Dimensions are given by height (H) x width (W) in centimeters for plane work, and height (H) x width (W) x depth (D) in cm for 3-D work. Diameter (Ø) is used for circular work.
For the name of country or city, the name currently used in English is listed in principle.