Thematic Exhibition #Metal

CREATIONS ENLIVENED: METAL 20.03.2021 - 24.07.2021 CRAFTS ON PEEL

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Tsubame-tsuki Copperware (Copper Forging) Takeshi Fujii

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Takaoka Copperware (Copper casting) Susumu Yotsukawa

Tsubame-tsuki Copperware (Copper Forging) Yasutaka Oohashi

FOREWORD 前言 Metalworking is the art of crafting the materials through melting, hammering, carving, and inlaying into various types of craftwork, such as silverware, ironware, copperware, cast iron, and so forth.

Metalwork in ancient China was one of the unique phenomena of the early civilizations, specializing in innovative and advanced techniques. The documented beginning of China’s journey through metallurgy was around the third millennium BCE, where bronze has been cast as ritual vessels intended for use in temple sacrifices, worship and to commemorate important events. Other objects connected with the rites were bronze drums and bells. As metalworking skills developed, the range of objects produced increased and so that in addition to arms, armor and ceremonial objects, functional objects used in daily life such as mirrors, pots and other utensils were also made and permeated every corner of the ancient society.

In response to the demands of times, the production of various kinds of metalwork, with techniques have been carried on from one generation of craftsmen to the next. Metal is strong and tenacious, and its craftsmanship is similarly indomitable.

These great energies are inside each of us. Through this exhibition – Creations Enlivened: Metal, we hope to articulate the preservation of traditional craftsmanship in coping with our contemporary lifestyle.

We invite you to witness their aspiration to innovate, experiment, and redefine.

Yama Chan Founder, Crafts on Peel

EXHIBITION SUMMARY

CREATIONS ENLIVENED: METAL

Creations Enlivened: Metal, showcases the works by traditional craftsmen and contemporary artisans from Hong Kong and Japan, working across a myriad of metals, such as copper, brass, silver, tin and galvanized iron.

The exhibition reveals the rich history of metalwork, and contemporary adaptations of those traditional techniques responding to the demand of modern days, while contemporary artisans strive to convey our culture and traditions through the elegance, strength and durability of their metal creations.

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Yuen (Galvanized Iron Crafting) Collaboration: Michael Yu and Gamzar

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Craft-ligraphy (Brass Sawing) Collaboration: Wah Gor, Nathan Wong and Hazel Lee

The Wishes of the Return, The Mirror of Hope and The Guardian of Hope (Lost Wax Casting with Brass) Collaboration: Liu Wing Sheung and Fanson Lam

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Tsubame-tsuki Copperware (Copper Forging) Takeshi Fujii

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Takaoka Copperware (Copper casting) Susumu Yotsukawa

Tsubame-tsuki Copperware (Copper Forging) Yasutaka Oohashi

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Alembic Copper Still (Copper Forging) Collaboration: Ping Kee Copperware, Dimple Yuen and Ivan Chang

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Re-united (Silver Forging and Gem-setting) Collaboration: Yve Chan and Jimmy Hui

Four Seasons (Copper Forging and Hammer and Chisel Engraving) Collaboration: Peter Ng and Ping Kee Copperware

Whale & Different Angles (Tin Forging) Yve Chan

ABOUT US Crafts on Peel is a charitable organization to revive, reinterpret and perpetuate traditional craftsmanship by fostering collaborations between traditional craftsmen and contemporary artisans through apprenticeship and exchange of techniques, with the aim of nurturing the younger generations to incorporate traditional skills into innovative contemporary designs, to breathe new life into traditional crafts so that the values of traditional craftsmanship can be integrated to our times.

Located in a historic building in the heart of Hong Kong, Crafts on Peel also serves as a creative venue – through thematic exhibitions, workshops, Artisan-inResidence program and experiential retail platform, to enhance our appreciation of craftsmanship and celebrate our cultural heritage and collective identity.

Bibliography and e-source 1.

Orientations, Chinese Bronzes - Selected articles from Orientations 1983-2000, Orientations Magazine Ltd., Hong Kong, 2001

2.

Maryon, Herbert, Metalwork & Enamelling, Dover Publications, New York, USA, 1971

3.

Motoyuki, Tamagawa and Kazuya, Watanabe, Handcrafted Tsuiki Copperware: A Traditional Craft of Tsubame

Niigata, YAMADA PHOTO PROCESS CO., LTD., Japan, 2016 4.

Herbal Tea - Hong Kong Intangible Cultural Heritage Database, Hong Kong, 2018, https://www.hkichdb.gov.hk/ en/index.html

5.

Hong Kong Memory, Leisure and Cultural Services Department of HKSAR and Hong Kong Jockey Club Charities Trust, Hong Kong, 2012, https://www.hkmemory.hk

6.

Why Copper Pot Distilling is the Best Way to Make Gin - Sipsmith London, 2017, https://sipsmith.com/copper-potdistilling-best-way-make-gin/

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Quote of Emperor Taizong of Tang, Wikiquote, 2020, https://en.wikiquote.org/wiki/Emperor_Taizong_of_Tang

8.

What is Takaoka Copperware, Kogei Japan, Japan, https://kogeijapan.com/locale/ja_JP/takaokadoki/

9.

The Origin and Historical Background of Gourd Art, Department of Cultural Creative Industries, National Pingtung University, Taiwan, http://ir.nptu.edu.tw/retrieve/22694/79.pdf

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Traditional Food Culture of Hong Kong - School of Chinese, The University of Hong Kong, Hong Kong, http:// cculture.hku.hk/content/hkculture/tm/food/food05.pdf

Curatorial Team Yama Chan Penelope Luk Rachel Man Design Kith & Kin Exhibition Production & Installation Christco Printing Winner Hong Kong Printing Co. Photographer Illuism Contact hello@craftsonpeel.com Facebook @craftsonpeel Instagram @crafts_on_peel_hk Website www.craftsonpeel.com Published on the occasion of Creations Enlivened: Metal at Crafts on Peel, Hong Kong from March 20 to July 24, 2021 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical or otherwise, without prior written permission of the publisher.

1st Edition Printed in March, 2021 Acknowledgement Ally Wong Caroline Poon Flannery Tse Janice Lam Katelyn Liu Morris Chou

MICHAEL YU & GAMZAR

YUEN

CREATIONS ENLIVENED: METAL 20.03.2021 - 24.07.2021

MICHAEL YU & GAMZAR

YUEN

Traditional Craftsman: Michael Yu Contemporary Artisan: Gamzar

Yuen, meaning “circle” in Chinese, symbolizes contentment and perfection, unity and harmony.

Gamzar began his apprentice journey by learning the basic techniques of crafting galvanized iron from Master Michael Yu. Gamzar discovered that galvanized iron was not as hard as imagined but slightly elastic, soft on the outside and rigid inside, making it challenging to handle. This binary quality of the material reminded him of the Chinese philosophy of Yin-yang — harmony is created through opposites: motion and stillness, odd and even, rigid and soft. When designing the work, Gamzar incorporated two polarities with paper fans to convey his concept, using parametric design to analyze the shape and simulate the overall structure.

The natural pattern of galvanized iron is juxtaposed with the smoothness of brass. Gamzar used the folding technique to present the changes of light and shadow, resulting in an accordion-shaped installation. Rectangular-shaped metals are connected to form numerous imperfect circles, completing the circle in the end.

Master Yu started working with galvanized iron to make a living. He started from understanding the making process and tools to measuring the size, cutting the material and finally producing air ducts for air conditioners. During the making process, he always paid attention to all the small details. He must fully understand each procedure to create a work from a flat piece of metal to three-dimensional product. The folds and buckles reflect the techniques and effort of the craftsmen, which is one of the reasons why Master Yu is fascinated by galvanized iron more than plastic.

Story of the Traditional Craft Galvanized iron is an alloy of iron coated with zinc, which is soft and durable. It is the most affordable metal amongst all metals.

Galvanized iron can be flattened and folded tightly to form a joint, not requiring any glue or nail. When plastic and stainless steel were not yet popular in the 1950s and 1960s, inexpensive galvanized iron was the typical material used for countless daily utensils, such as mailboxes, gates and mahjong boxes. In addition to household goods, the material was also used in industrial air-conditioning ducts.

Zinc Iron

Making Process The installation combines contemporary parametric design with seven traditional galvanized iron craft techniques - drawing, marking, cutting, wrapping, folding, flattening and buckling.

From his design sketches, Gamzar used three-dimensional design software to configure and simulate the structure of the work. By changing the parameters, Gamzar could easily adjust each component’s size to digitally visualize the design, while discussing the feasibility with Master Yu simultaneously.

While traditional techniques involve sketching on the metal with a snow piton, Gamzar had printed out his designs for tracing the outlines and joints on the metal instead. The metal was then trimmed with straight-cutting or arch-cutting snips accordingly. This process must be precisely controlled to achieve the desired effect.

Once trimmed all the components and after several rounds of experimentation, Master Yu and Gamzar determined the sequence and direction of buckling, including ways of folding and closing. Following the alignment of all components, they proceeded to create the ideal buckling structure by folding and hammering.

Wired edges were added to the tops and bottoms of each component before the process known as buckling. It is a technique that connects all components with a hammer. Buckling can be categorized based on the position of the joints: sheet connection and corner connection. Sheet connection includes cap strip seam, flat lock seam and single and double hem, which connects flat surfaces; corner connection includes Pittsburgh lock and wired edge, which connects corners.

Through the collaborative work of Gamzar’s creative designs and Master Yu’s skillful technique, twelve galvanized iron components were assembled into a set of three accordion-shaped artwork.

MICHAEL YU METALSMITH SPECIALIZED IN GALVANIZED IRON

Master Michael Yu has been engaged in the galvanized iron industry for over thirty years, mainly making air conditioning ducts for a living in the beginning. Starting in 2010, he began exploring the use of galvanized iron to create unique crafts and daily necessities. In his spare time, he co-organizes workshops with different organizations, mainly teaching the making of traditional mailboxes to promote and revitalize the craft of galvanized iron.

GAMZAR DESIGNER AND CONTEMPORARY ARTISAN

The process of connecting oneself with materials and tools is an intimate dialogue.

Gamzar grew up in a Teochew-Hakka family in Hong Kong. He has been interested in languages and art since childhood.

his bamboo work won the gold award in the Fujian International Bamboo Product Design Competition in 2017 and was featured in the China edition of Architectural Digest. He returned to Hong Kong in the same year to work as a designer. After working with crafts for a year and a half, he was awarded the French National Scholarship and enrolled in the École Nationale Supérieure d’Arts et Métiers in Paris for postgraduate study.

He went to St. Petersburg, Russia as a volunteer in his freshman year of university.

He was deeply influenced by the local architectural design and determined to study in Europe. After a two-year weekend French course in Shanghai, he was selected as the only candidate to go to the National Schools of Design in Paris (ENSCI Les Ateliers and ESAA Duperré) for an exchange program. During his internship in France, he connected with the National Taiwan Craft Research and Development Institute. He discovered the beauty and value of Asian crafts and gradually developed his interest and enthusiasm in crafts.

Later, he went to Nantou in Taiwan and Anji in Zhejiang, China, to start his apprenticeship. Combining the computeraided design with bamboo craftsmanship,

Architecture Digest

LIU WING SHEUNG & FANSON LAM

CREATIONS ENLIVENED: METAL 20.03.2021 - 24.07.2021

LIU WING SHEUNG & FANSON LAM

THE WISHES OF THE RETURN

Traditional Craftsman: Liu Wing Sheung Contemporary Artisan: Fanson Lam

This set of two cast copper plates was designed by Master Liu Wing Sheung in 1997. The spring ox pattern and the couplet expresses his “wishes” that the “return” will bring peace and prosperity in the future.

In traditional Chinese culture, the Spring Ox Illustration is a folklore pictorial guide for predicting rainfall and crop harvest.

We can find it in Tung Shing, a Chinese divination guide and almanac.

LIU WING SHEUNG & FANSON LAM

THE MIRROR OF HOPE Traditional Craftsman: Liu Wing Sheung Contemporary Artisan: Fanson Lam

As a nature lover, the design of Master Liu’s copper mirror is inspired by tree trunks which can be seen everywhere when he wanders around the countryside, while the back of the mirror incorporates a paper folding design. The copper mirror created

by Fanson Lam explores the relationships between desires, death and identities through human sculpture.

As early as 3000 BCE, the use of bronze started to develop in China and bronze mirrors have played a significant role in reflecting, both literally and symbolically, the culture of the Chinese. They transcended their mere practical usage to become an important moral icon.

“With a mirror, one can see whether he is properly attired; with history as a mirror, one can understand the rise and fall of a nation; with men as a mirror, one can see whether he is right or wrong.” Emperor Tang Taizong of the Tang dynasty once said.

LIU WING SHEUNG & FANSON LAM

THE GUARDIAN OF HOPE

Traditional Craftsman: Liu Wing Sheung Contemporary Artisan: Fanson Lam

The door knockers made by Master Liu and Fanson Lam, are inspired by the dogs that became the spiritual companion of Master Liu over the years. Through the collaboration, the master and his apprentice incorporated their respective expertise in casting and sculpting — Fanson sculpted the dog heads in wax model while Liu cast them into several bronze door knockers.

In traditional Chinese architecture, a pair of door knockers are installed onto each side of the doors. By pounding the metallic knob, the sound serves the same purpose as a doorbell.

The door knocker comprises a metal ring and a base. The base can be either menba (cymbal-shaped) or pushou (animal-shaped). Circular, hexagonal and octagonal cymbal-shaped bases are mostly found in a commoner’s residence.

They are usually engraved with religious patterns such as Bagua (the eight symbols in Taoist cosmology for the fundamental principles of reality) or totem. As for pushou, they were adorned with beast heads and are usually found in mansions or palaces. According to Feng Shui, these animal-shaped door bases are the guardians defending the house from evil spirits.

Story of the Traditional Craft In Hong Kong, the traditional casting industry mainly produces copper or iron parts for machine components. Being the apprentice of Master Liu Wing Sheung, sculptor Fanson Lam hopes to bring copper casting to a new aesthetic level through the collaboration. He discusses the feasibility of his creative idea with Master Liu. With over fifty years of experience, Master Liu’s craftsmanship carries Fanson’s creation.

Harnessing his creativity as a sculptor, Fanson incorporates Master Liu’s traditional metal casting techniques into new designs. Through endless discussions and experimentations, their complementary skills continue to bring traditional metal casting techniques into contemporary objects in our daily lives.

Making Process There are two major ways of casting: sand casting and lost wax casting. Liu specializes in the latter and the making process is as follows: First, a sculpted clay model is covered with silicone gel, forming a mold after being airdried. Liquid wax is poured into the mold and after cooling, the wax will harden to become the desired form. A complex form has to be divided into several parts and they are welded together to become a wax tree.

The wax tree is then placed in a steel container where the plaster is poured into.

Hardened plaster is heated so that all the wax wrapped around the plaster is melted and a hollow plaster mold is formed.

Copper is melted at a high temperature of over 1000°C and injected into the plaster mold. The plaster mold is cooled by immersing in water, enabling the copper inside to solidify. The plaster is then removed and an oxidized patina could be created by dipping the work into a special chemical solution. After coloring and finishing, the work is heated repeatedly and coated with a wax layer to enhance durability.

LIU WING SHEUNG CASTING CRAFTSMAN

To own once and to hold ever after. Copper represents eternity.

It is the craftsmanship that I will always possess and continue to pass it on.

Master Liu Wing Sheung started his copper casting career in 1962. He is now one of the remaining casting masters in Hong Kong. Besides copper, he also casts other materials such as stainless steel, iron, silver and glass.

Even at the age of eighty, Master Liu continues to explore the techniques of casting humbly. He always strives for perfection and looks for improvement after completing each work. He emphasized that every piece of completed works is pleasing to the eyes, however, the number of failed works is many times more than the number of finished ones. There is no shortcut to success. Only by facing failures honestly and seeking improvement can create extraordinary works. “Be friends with failures.” he said. Master Liu is known for casting realistic baby hands and feet and his fine craftsmanship has attracted many admirers.

FANSON LAM SCULPTOR

Perfection means to reveal the flaws genuinely.

Fanson Lam is a sculptor based in Hong Kong and a casting apprentice of Master Liu Wing Sheung. He graduated with a master’s degree from the Academy of Visual Arts of the Hong Kong Baptist University in 2014. He started figurative sculpting during his studies and has since devoted himself to exploring the limitations and possibilities of the human body.

With years of experience as a freelance sculptor, he is proficient in mold techniques and has conducted in-depth research in the theory of mold making.

WAH GOR & NATHAN WONG & HAZEL LEE

CRAFT-LIGRAPHY

CREATIONS ENLIVENED: METAL 20.03.2021 - 24.07.2021

WAH GOR & NATHAN WONG & HAZEL LEE

CRAFT-LIGRAPHY

Traditional Craftsman: Wah Gor Contemporary Artisan: Nathan Wong and Hazel Lee COXPER

Craft-ligraphy contains sixty Chinese characters with the radical, “jin” (meaning gold or metal), written by calligrapher Wah Gor on rice papers. Each character is closely tied with our daily lives, customs and culture. Coppersmiths Nathan Wong and Hazel Lee reinterpreted each brushstroke on brass by hand with fret saws, creating one-of-a-kind textures that machine-operated laser cuttings could not replace and replicate, embodying the passions for handcrafted metalwork of the three craftsmen.

Story of the Traditional Craft Calligraphy is considered to be one of the most important forms of art in Chinese culture. Wah Gor’s calligraphy stall sits at Portland Street in Mongkok. He recalled that there were many calligraphers in the area, each with its unique writing styles. Since telephones were not as readily accessible in the 1980s, Wah Gor would stay in his stall and patiently wait for customers. Customers would often browse the samples offered by multiple stalls before making their choices. He believed these Chinese calligraphy stalls like his, had silently contributed to the commercial scene in Hong Kong by creating signboards for businesses and government institutions over the years.

His stall still stands but would only open during Chinese New Year for his students to practice writing in front of the public.

Wah Gor believes that calligraphy is rooted in tradition, and tradition must be respected in order to endure. His calligraphy is dynamic and full of vitality, as his creative inspirations come from the appreciation of daily lives. Since his youth, he had enjoyed standing on high points or atop a tree to admire the ever-changing skies and seasons and reinterpreting them in his calligraphy. He also instilled his personal feelings to create fonts with distinctive styles. When writing for restaurants, the font will be more rounded; when writing for schools, it will be more steady and grounded; when writing for hair salons, it will be more sleek and graceful.

Making Process After conceptualizing Nathan and Hazel’s creative framework, Wah Gor created sixty Chinese characters with “gold” as the radical with his sleek and graceful brushstrokes. The calligraphy was then digitized, printed and pasted on a threemillimeter thick copper plate before carving. By drilling a small hole with a pendant drill, a saw blade could pass through the brass. Nathan and Hazel could then carve out each character intricately by hand using a fret saw. Each character has different brushstrokes and complexity, taking an average of five hours to complete.

WAH GOR CALLIGRAPHER

Fung Siu Wah, known as Wah Gor, was born in 1948. From a young age, he was exposed to his father’s passion for calligraphy. Starting with the main schools of Chinese calligraphy from the Ming and Qing dynasty, he advanced his style with calligraphy from the Yuan, Song, Tang and Jin dynasties. His style is not confined to a particular school but unifies the essence of each into one. Wah Gor particularly specializes in and favors the cursive script.

Wah Gor began his calligraphy career by writing signs for businesses on doors of lorries. His work was noticed by a film director when he was making props for movies, and since then, he has produced inscriptions for hundreds of well-known Hong Kong movies. Known for his dynamic style, he is honored as the exclusive calligrapher in the film industry.

NATHAN WONG & HAZEL LEE COXPER COMPERSMITHS AND INTERIOR DESIGNERS

Nathan Wong first completed an associate degree in Design Interior Architecture from Caritas Bianchi College of Careers and later obtained a Bachelor Degree with Honours in Interior Design from the University of Huddersfield.

Serendipitously encountering copper craft, Nathan was captivated by its oxidized form and thus decided to become a coppersmith. After further study in basic forging techniques, he has experimented with the use of copper in everyday utensils.

Through copper, Nathan seeks to realize the idea of “imperfect beauty” to integrate craft and design concepts into our daily routines.

Hazel Lee first completed a Higher Diploma in Design (Interior Architecture) from Caritas Bianchi College of Careers and continued her Bachelor Degree in Environment and Interior Design at The Hong Kong Polytechnic University, which she later graduated with first-class honors.

During university, Hazel began research into a host of different materials. By coincidence, she observed that the color of copper changes from day to day, and she fell in love with it. Through self-learning and courses, she acquired the basic metalworking techniques to integrate copper design into everyday objects.

PING KEE COPPERWARE & DIMPLE YUEN & IVAN CHANG

ALEMBIC COPPER STILL CREATIONS ENLIVENED: METAL 20.03.2021 - 24.07.2021

PING KEE COPPERWARE & DIMPLE YUEN & IVAN CHANG

ALEMBIC COPPER STILL Traditional Craftsman: Luk Shu Choi and Luk Keung Choi Ping Kee Copperware Contemporary Artisan: Dimple Yuen and Ivan Chang Two Moons Distillery

Dimple Yuen and Ivan Chang teamed up with traditional craftsmen Luk Shu Choi and Luk Keung Choi to refine a copper still by adapting techniques from handcrafting herbal tea brass vessels. Dimple and Ivan uphold the respect for traditional copperware and distillation techniques while implementing the spirit of “Made in Hong Kong” to the entire making process, from the research and development to experimentation of the distillation formula.

The high thermal conductivity of copper plays a vital role in removing impurities during the distillation process, which explains why copperware has always been used for gin making. Although some modern stills use stainless steel for economic purposes, Dimple and Ivan have insisted on using copper and follow the more traditional spirits brewing process to produce premium spirits.

The essence and meaning of craftsmanship lie in exploring with both hands and being flexible from experience. Through the partnership, the Luk brothers were able to bring the young distillers’ vision to life, propelling the art of copper craft forward by introducing new elements to a traditional piece, reinterpreting the traditional craft of herbal tea vessels that once represented the culture of Hong Kong.

Collaboration with the two Luk masters began with the alembic still that Dimple and Ivan bought from Europe. In the process of creating their gin, Dimple and Ivan used a petite copper still made in Portugal to develop and test the formula. The still came with a narrow lid and a wide base, in the shape of a gourd. However, this still lacked the most important component for distillation - the thermometer, which prompted the duo to find a solution in Hong Kong.

What started as a simple request to install a thermometer on the still soon became an opportunity to exchange ideas, stories, and skills with the Luk brothers of Ping Kee Copperware. Dimple and Ivan were intrigued by the form and texture of traditional copper herbal tea vessels that Ping Kee had produced, which inspired them to refine the alembic still using traditional copper hammering techniques for herbal tea vessels.

Story of the Traditional Craft The Countless Ties between the Copper Vessel and Still As Luk Shu Choi recalls, the most glorious period of copperware in Hong Kong was during the 1960s and 1970s. Back in the days, herbal tea was made in the kitchen at the back of the herbal tea shop. Once the hot herbal tea was ready, it would be immediately poured into the giant copper vessels to keep warm. According to folklore, the medicinal properties of herbal tea are most effective when it is served hot. Numerous herbal tea shops commissioned the Luk brothers to create rectangular-shaped copper cupboards, with faucets attached to the bottom for decanting. Some well-off merchants would even order tailor-made herbal tea vessels from them, named “copper gourds” with shiny finishing and the words “Ping Kee Copperware” engraved at the base.

The “copper gourds” are hybrids of the ancient Chinese cauldron (ding) and wine vessel (hu). They are situated in each wing of the herbal tea shop front to keep their secret blends. One of them holds bitter teas like the 24 flavors tea; the other holds sweet teas such as the sugar cane and imperatae drink or chrysanthemum tea.

Today, very few herbal tea shops still keep these copper pots, and the masters rarely receive local orders.

Why is copper pot distilling the best way to make gin? Apart from the undeniable aesthetic appeal, copper is exceptionally good at conducting heat, which is the same reason why herbal tea shops love using copper vessels to keep the drinks hot.

While stills can also be made from stainless steel, aluminum and a range of other materials, Dimple and Ivan find that copper is still the best option.

Copper is highly malleable and is resistant to corrosion. It has antimicrobial properties, which reduce the possibility of contamination. Copper reacts on a molecular level to remove harsh impurities during distillation. When heat is dispersed evenly over the surface of the still, the result is a more efficient distilling process and better smoother gin.

The Mystery Inside the Gourds Although stainless steel vessels perform better in heat preservation, copper is believed as a charm to ward off evil spirits.

According to folklore, Bhaisajyarāja, the Medicine King Bodhisattva, took the gourd containing the elixir and miraculous medicine and went to the secular world to treat the sick. Therefore herbal teapots have taken on the shape of the gourd which symbolizes longevity and blessings to future generations.

The making of liquor is an ancient craft.

Since the invention of the alembic copper still, modern techniques have improved the efficiency and quality of distillation. Yet, the art of crafting stills for alcohol distillation has largely remained unchanged, passing down with each generation. As a contemporary distiller, Dimple and Ivan’s production process still honors these traditions, as they insist on making quality spirits through proven, traditional techniques.

Even though gin is considered a “Western” spirit, Dimple and Ivan are very proud that they can localize the entire gin-making process, making their gin a truly “Made in Hong Kong” spirit.

Traditional copper forging is generally performed by hammering a metal sheet placed on an anvil in concentric movements, causing the metal to compress or extend while avoiding the formation of creases. The pots, cups, flasks and stills from Ping Kee Copperware are forged using this technique. The production process starts with a large copper sheet, which is then cut down to size much like tailoring fabric. To fabricate a large copper still takes around thirty days. Both the Luk brothers think the most challenging part is to form the shape.

They have to be precise so that it could be connected seamlessly with the body of the still.

The two craft masters pride themselves on the smooth finishing of their copperware which is a technique passed down from their father, Luk Ping. “Shiny finish represents excellence, as people believed forged patterns to be of poor quality.”

However, the Luk brothers are open to a change of mindset according to the times.

In recent years, traces of hexagonal forged patterns were gradually found in their work, as some of their customers shared this popular Japanese style with them.

Making Process The copperware at Ping Kee is generally forged using copper or brass. In its purest form, copper has a light-red luster, and due to its malleability and high melting point, as well as high viscosity, it is not suitable for casting big containers.

Instead, it is combined with other chemical elements to form alloys. For instance, brass is an alloy of copper and zinc, which gives off a golden hue. It has a high density, suitable for making delicate parts.

The Luk brothers are humble and studious.

They do not merely transplant the popular patterns onto their works. Instead, they incorporate their experience and knowledge to create a unique Ping Kee style. It shows how craftsmanship plays a unique role and evolves with the times, and the relationship between traditional craftsmanship and cultural trends in different regions.

A piece of copperware requires a continuous and repetitive forging process followed by welding and polishing, and every single step demands concentration and finesse. The Luk brothers believe that handcrafted copperware also requires patience and deep thoughts on the design in addition to the demands of techniques to bring out the soul of a particular piece of work.

Copper

Brass

Zinc

LUK SHU CHOI AND LUK KEUNG CHOI PING KEE COPPERWARE COPPERSMITHS

Luk Ping established Ping Kee Copperware in the 1940s, which has now been running for eighty years. Today, the business is managed by his two sons Luk Shu Choi and Luk Keung Choi. In reminiscence, it was purely out of the idea of acquiring a skill set and inheriting the business that the Luk brothers learned copper forging from his father, without giving much consideration to the future. The elder brother, Luk Shu Choi focuses mainly on design, while the younger brother Luk Keung Choi manages the forging of copperware.

Ping Kee Copperware Since | 1940 Address: 1-5 Hamilton Street, Yau Ma Tei, Kowloon, Hong Kong

炳記銅器 始於 | 一九四零年 地址: 九龍油麻地咸美頓街一至五號

DIMPLE YUEN AND IVAN CHANG TWO MOONS DISTILLERY CO-FOUNDERS

“Craftsmanship” is an art form — a labor of love, that enables us to infuse creativity into our works while honoring traditions that root us.

With a passion for handcrafted gin, Dimple Yuen and Ivan Chang pioneered the first open distillery in Hong Kong by establishing Two Moons Distillery in 2019.

Organic herbs were collected all over the world with an emphasis on east Asian herbs, to create a unique blend of locallymade dry gin.

As distillers, Dimple and Ivan consider themselves craftsmen as long hours of hands-on experimentation and spiritual dedication is required to create highquality gin. Collaborating with the Luk brothers to design the copper still had inspired them to learn more about the craft of copperware. Dimple focuses on gin-making as the head distiller, while Ivan takes up the role as the director of the brand.

PETER NG & PING KEE COPPERWARE

FOUR SEASONS

CREATIONS ENLIVENED: METAL 20.03.2021 - 24.07.2021

PETER NG & PING KEE COPPERWARE

FOUR SEASONS

Traditional Craftsman: Peter Ng Graver HK Traditional Craftsman: Luk Shu Choi and Luk Keung Choi Ping Kee Copperware

Local traditional craftsmen Peter Ng, Luk Shu Choi and Luk Keung Choi collaborated to create this engraved copper pot. The Luk brothers first created the copper pot through forging. Master Ng further engraved the pot with vines, spiral-shaped patterns, and “The Four Gentlemen” in Chinese classic literature — plum blossom, orchid, bamboo, chrysanthemum. These decorative motifs were carved on the body of the pot, symbolizing the seamless harmony of the four seasons.

One of Ping Kee Copperware’s longestablished products is the copper pot, which was mainly supplied to local congee shops. Copper conducts heat well and can withstand high temperatures, making it especially suitable for cooking congee, a favorite of the Cantonese. It is a popular belief that copper pots can bring out the congee’s delicate flavor and ingredients.

Master Ng and the Luk brothers have known and admired each other for many years, but they have never collaborated until now. The techniques of Master Ng have mainly been used in the jewelry industry, while the Luk brothers focused more on making daily household objects.

This collaboration is a new way to demonstrate the traditional “division of labor” in the metal industry and the interdependent relationships between craftsmen.

Story of the Traditional Craft Hong Kong’s metalwork industry began to develop in the 1940s and 1950s. In the beginning, most shops were familyrun and items were mostly handmade.

From the late 1950s to the 1960s, foreign merchants in related industries came to Hong Kong to do business and purchase goods. According to Master Ng, engraving reached its golden age during this period when there were around a hundred craftsmen in this field. At that time, diamonds were very expensive and unaffordable. With engraving, the glistening motifs resemble that of diamonds from a distance, rendering its popularity at the time.

Rapid economic development in Hong Kong during the 1970s increased the demand for diamonds while metal engraving slowly declined. In the mid1980s, the “millgrain” pattern became popular, which was done by adding raised beaded patterns along the edges of the works, enhancing the aesthetic appeal.

This pattern remained popular until the end of the 1990s.

Making Process The metal jewelry industry is based on a specialized division of labor system as the production process. From smithing and casting inlaying, engraving and electroplating, each process is handled by a different master. Among them, Master Ng is responsible for engraving.

Master Ng adeptly uses a wide range of hammers and chisels with different dimensions and angles to carve a myriad of patterns onto metal objects, which are fixed on a specially-made wax spherical mount to be chiseled.

During the process, Master Ng usually stands to make his body more flexible.

The sharper the curves he works on, the more his body has to bend. Compared with other regions such as Japan and Thailand, the angle of inclination during his chiseling process is relatively wider, with a gradient of sixty to seventy-five degrees to a horizontal surface.

PETER NG

GRAVER HK HAMMER AND CHISEL ENGRAVING CRAFTSMAN

Master Peter Ng started learning chiseling techniques from Master Ng Tin Duk at the age of twelve. After completing his studies, he became a full-time craftsman specializing in engraving. With hard work, enthusiasm and more than half a century of experience, he co-founded the brand Graver HK with his son Jan Ng in 2012.

Together, the father-son partnership continues to develop the craft of metal engraving by incorporating chiseling into a variety of contemporary works.

Graver HK

LUK SHU CHOI AND LUK KEUNG CHOI PING KEE COPPERWARE COPPERSMITHS

Luk Ping established Ping Kee Copperware in the 1940s, which has now been running for eighty years. Today, the business is managed by his two sons Luk Shu Choi and Luk Keung Choi. In reminiscence, it was purely out of the idea of acquiring a skill set and inheriting the business that the Luk brothers learned copper forging from his father, without giving much consideration to the future. The elder brother, Luk Shu Choi focuses mainly on design, while the younger brother Luk Keung Choi manages the forging of copperware.

Ping Kee Copperware Since | 1940 Address: 1-5 Hamilton Street, Yau Ma Tei, Kowloon, Hong Kong

炳記銅器 始於 | 一九四零年 地址: 九龍油麻地咸美頓街一至五號

YVE CHAN & JIMMY HUI

CREATIONS ENLIVENED: METAL 20.03.2021 - 24.07.2021

YVE CHAN & JIMMY HUI

RE-UNITED

Traditional Craftsman: Jimmy Hui Contemporary Artisan: Yve Chan

The silver teapot with jadeite inlay represents the collaborative work between contemporary designer and metalsmith Yve Chan and traditional gem-setting craftsman Jimmy Hui. Made from sterling silver, the design of the teapot blends the aesthetics of the East and the West.

Sterling silver, also known as 925 silver, contains 92.5% silver and 7.5% copper, which incorporates hardness with purity and is often used in European silverware.

Utilizing traditional raising and sinking techniques, Yve Chan shaped the flat silver sheet into hollow and threedimensional forms by repeated hammering and then welding the pieces together.

18K

Chasing and Repoussé Chasing Eighteen karat gold rings were designed to connect to the double handle, reducing heat transfer when touched. The lid is the centerpiece of the teapot; Yve used chasing and repoussé techniques to emboss the unique motif. After repeated hammering, a three-dimensional form of mid-relief, also known as half-relief or mezzo-rilievo, is created by combining the technique of making it “concave” (Chasing) and “convex” (Repoussé).

An icy jadeite from Myanmar is then inlaid on the top of the teapot lid by Master Jimmy Hui.

925

92.5%

7.5%

Repoussé

YVE CHAN

WHALE

Contemporary Artisan: Yve Chan

Yve Chan injected his creativity and playfulness into the design of this set of sake pitcher and small cups, made of tin through raising and sinking. Both ends of the pitcher can be used for pouring; the tail can be used as either a handle or spout. The body of the pitcher and cups are designed to be wide, allowing the alcohol to breathe and enhance its aroma.

The pitcher is perfect for serving premium sake, Chinese yellow rice wine, Chinese distilled liquor Moutai, and other kinds of strong spirits.

YVE CHAN

DIFFERENT ANGLES

Contemporary Artisan: Yve Chan

A set of six cups are all made from a single circular sheet of tin. Inspired by the idea of angles, each cup is named according to the number of angles on the lip of the cup: “circle (zero)”, “almond (two)”, “quadrilateral (four)”, “heptagon (seven)”, “octagon (eight)” and “decagon (ten)”.

Spontaneously conceived and irregularly shaped, the cup set captures the playful serenity of enjoying alcohol.

Story of the Traditional Craft Raising is a traditional metalworking technique with a long history. The primary materials used in raising are copper, tin and silver. The continuous hammering of the surfaces curls and reshapes the metal into a three-dimensional vessel from a metal sheet. The uneven contours on the surface of metalware are created by planishing, which are commonly found in tin and silverware due to their malleability.

It captures the craftsman’s style and is a manifestation of emotion and aesthetics.

To Yve Chan, metalwork is shaped through the hands. Through one’s hands, what was previously known, learned and practiced can be crafted into a physical object which simultaneously reflects one’s values. Born into a family of craftsmen, Yve Chan was immersed in crafts since youth. Traditional crafts have been passed down through generations, and he was attracted by this spirit which led him to begin his career in metalworking.

Through this exhibition, Yve invites gemsetter Master Jimmy Hui for collaboration.

Beginning his craft journey at sixteen years old with his brother, he engaged in gem-setting because of his interest in craftsmanship. He has more than thirty years of experience in the industry. Despite technological advancement, he believes that there is a spiritual quality in handmade objects that outshines those made by machines.

Both Yve and Master Hui hope that traditional crafts can be carried on. Yve Chan believes that craft can only be passed on to the next generation if it is recognized and treasured by the general public. With economic development, it is the spirit of craftsmanship that needs to be cherished and preserved.

JIMMY HUI GEM-SETTER

Trained in gem-setting craft through the traditional “master and apprentice” structure, Jimmy Hui has been in the industry for over thirty years. Apart from diamond mounting, master Hui is similarly adept with jadeite and other precious stones.

Master Hui began learning gemsetting at the age of sixteen. After three years of apprenticeship and with the encouragement of his master, he dedicated himself to specialize in stone settings. He worked at different jewelry companies in Hong Kong and Japan in the early years, where he perfected his diamond setting techniques. Later, he was invited by an Indonesian jewelry company to teach diamond setting techniques.

Upon returning to Hong Kong, Master Hui opened his workshop. With his experience and perseverance, he always strives for perfection in each piece of jewelry. He is currently a craftsman-in-residence at Dawn Jewellery, responsible for custom jewelry and gem-setting.

YVE CHAN JEWELRY DESIGNER, METALSMITH AND GIA GRADUATE GEMOLOGIST

Craft is life’s temperance.

Yve Chan has extensive experience in the jewelry industry, including product development for jewelry franchises, handcrafted jewelry and tin utensils, and teaching jewelry knowledge.

After graduating with a degree in marketing and a background in advertising, Yve’s passion for craftsmanship prompted him to pursue further studies in jewelry and silversmithing at Birmingham City University in the United Kingdom. Later, he obtained his certification as a GIA graduate gemologist in the United States. During his time in the UK, his work had received the Assay Office London Technology Award from The Goldsmiths’ Company and International Jewellery London Special Award for Fine Jewellery.

Upon returning to Hong Kong, Yve works in product development for fine jewelry. His fine jewelry works have been exhibited at the Baselworld Exhibition.

With his jewelry creations, Yve Chan continues to weave the old and the new and bridges different cultures worldwide.

Lately, Yve has organized craft workshops at Dawn Jewellery, sharing his passion for raising and sinking with his students.

The Goldsmiths’ Company Assay Office London Technology Award International Jewellery London Special Award — Fine Jewellery Baselworld

TAKESHI FUJII

CREATIONS ENLIVENED: METAL 20.03.2021 - 24.07.2021

TAKESHI FUJII

TSUBAME-TSUIKI COPPERWARE

Contemporary Artisan: Takeshi Fujii Fuukidou

This collection of copperware from Tsubame, Japan, represents the Tsuiki technique used to forge a flat copper sheet into a three-dimensional ware. After annealing the sheet, different hammers are used to add decorative patterns and shape the metal into various sizes. Tsuiki fully utilizes the malleability of copper to shape into exquisite pieces such as teapots, tea caddies, coffee pots, cooking pots, and sake cups.

The coffee drip pots are coated with a tin layer, paired with a rattan woven handle, while the gooseneck spout provides more flow control. There are two designs and one can be used directly over the stove.

The kyūsu, a traditional Japanese teapot, with the handle wrapped in rattan are one of the signatures of Fuukido.

The interior of the airtight sencha caddy is plated with silver, which keeps the tea leaves fresh and dry.

Yuwakashi (kettle) symbolizes wisdom from the predecessors and is one of the most distinctive Tsubame-tsuiki Copperware.

This copper cooking pot has two brass handles, coated with a tin layer.

A sombre sake cup that accentuates the pronounced and complex taste of aged alcohol.

Story of the Traditional Craft Before starting Fuukidou, Takeshi’s grandfather worked and honed his skills at the most renowned copperware workshop – Gyokusendo, where Takeshi had also worked for two years. In 1954, Takeshi Fujii’s grandfather founded Fuukidou and mainly made vases and Yuwakashi (kettle).

Meanwhile, Takeshi’s father preferred making different varieties of vases and high-quality cooking pots. Takeshi treasures the time he worked with his father and grandfather. Their spirits and dedications motivate him to aim high and continue to make better products. “The person I was yesterday made me who I am today; what am I going to be tomorrow?

Thinking about it makes me want to do my utmost.”

As a third-generation metalsmith, Takeshi Fujii wants to create copperware that would create an amazing experience for the users. Originally, Takeshi did not favor any particular type of copperware and simply wanted to make copperware that its owners would treasure. When he met the owner of Bnei Coffee from Tokyo, his interest in making copperware for coffee began.

Through Bnei Coffee, Takeshi understood better how the tools for making coffee relate to the actual customer needs and experience. While Takeshi still makes Fuukidou’s signature utensils, he has taken it upon himself to make copper drip pots and servers, which would enhance the brewing experience. Nowadays, quality coffee drip pots with thin spouts and coffee servers have become one of Fuukidou’s signature items.

Thin spout coffee pots are favored for baristas in brewing coffee with the traditional Nel Drip method. The precise control of water stream, roast levels and grind size of beans are crucial to the fragrance of coffee. The angle, thickness, curvature of the spout, and the handle must all be considered in making the pot.

These factors change the taste of the final brew by dictating the amount of strength a barista uses when pouring water into the coffee grounds. With constant conversations, Takeshi creates unique coffee pots with traditional techniques.

Takeshi thinks that craft is to fully utilize materials and techniques while producing functional yet beautiful works. Takeshi once repaired a copper coffee pot made by another craftsman at the request of a client. The difficulties and challenges in the repairing process remain a memorable experience that Takeshi appreciates deeply.

In Tsubame-sanjo, many hardworking and talented youngsters are engaged in metal crafts. Takeshi is greatly heartened by the friendly community of young craftsmen who learn and encourage one another with great humility. Takeshi hopes to pioneer new techniques and a style of his own going forward. He passionately believes that his devotion will soon bear fruit.

Nel Drip

Bnei Coffee

Drip pot

Server

Bnei Coffee

1945

Bnei Coffee

Making Process Fuukidou uses the Tsubame-tsuiki technique of forging and metal spinning to create its copperware. The body of the copperware is first raised with either a metal or wooden hammer from a piece of copper sheet. As each pound hardens the material, heat was applied to soften the copper again via annealing. Usually, this takes a few rounds to create the ideal shape of the main copperware body.

Other delicate parts are then further refined, using a range of metal hammers, combined with toriguchi rods and ategane (small metal pillars).

After completing the body, craftsmen of Fuukidou would coat a thin layer of tin on the interior. The copper body is first heated to the tin’s melting point. The tin coating will be melted and spread evenly across the surface and then set aside to cool.

Finally, the spout and handle are welded onto the copper pot.

Forging

Annealing

Tin

TAKESHI FUJII THIRD-GENERATION TSUIKI COPPERSMITH OF FUUKIDOU

For creators and users, craftsmanship is part of our daily lives.

Takeshi Fujii was born in Tsubame-shi, Niigata. After graduating from Tsubame High School, he stays in the same town as the third-generation successor of Fuukidou.

Since Takeshi Fujii was a kid, he had been helping his family with the business. After his graduation in 1994, he joined a local copperware workshop, Gyokusendo to kick start his career, mainly responsible for annealing, plating on tin surfaces and imprinting logos. Takeshi returned to Fuukidou in 1996.

He always makes full use of the material, while incorporating traditional techniques with advanced technology. He pursues the beauty of practicality and produces attractive copperware in soft and simple shapes that increases warmth with each use.

1994

2

1996 6

YASUTAKA OOHASHI

CREATIONS ENLIVENED: METAL 20.03.2021 - 24.07.2021

YASUTAKA OOHASHI

TSUBAME-TSUIKI COPPERWARE

Contemporary Artisan: Yasutaka Oohashi

This collection of copperware from Tsubame, Japan, represents the Tsuiki technique used to forge a flat copper sheet into a three-dimensional ware. After annealing the sheet, different hammers are used to add decorative patterns and shape the metal into various sizes. Tsuiki fully utilizes the malleability of copper to shape into exquisite pieces including sake cups, tray and teapots.

The surface of the sake cups is coated with different patinas to create vivid colors. The thin rim is a mark of superb craftsmanship.

This hand-hammered Yuwakashi (kettle) is forged with Tsuiki techniques. It can be used directly over a gas stove, wood fireplace or charcoal stove. It is a work of art that will last for a lifetime.

Story of the Traditional Craft Yasutaka Oohashi’s father mastered the Tsubame-tsuiki technique of copperware at the most renowned copperware workshop — Gyokusendo. Surrounded by copperware since a young age, his passion for the copper craft began to grow. When he was twenty-two, he apprenticed at Gyokusendo and later became an independent metalsmith and started his brand. In Japan, building one’s own brand after fully acquiring the skills from the master is common. Craftsmen respect and learn from one another.

Yasukata will first communicate with customers to understand the design, and then start production. It takes approximately two weeks to produce a simple design.

Tsuiki Copperware is the lifeblood of the Tsubame area. Therefore, Yasutaka is determined to reflect the excellent technique in his copper works. In the beginning, it would take Yasutaka a week to make a single copper cup, now it only requires him a day to accomplish the same task, but the early challenges will always inspire him.

The habits of his customers directly impact the demand for his products. For instance, when induction stoves were popular, demands for copper pots slumped since copper’s low electrical conductivity makes it ill-suited for these stoves. Yet, with the resurgence of gas stoves, copper pots have become much sought after once again. As traditional crafts evolve, so does copperware, which ebbs and flows with the current of the times.

Yasutaka believes that putting his heart and soul into his works makes them more meaningful. He hopes to share his joy and passion for crafts with his customers.

IH

22 1

2

Making Process Tsuiki is a raising and sinking technique which involves a variety of tools to stretch and compress the metal. The techniques have been passed down since the Edo period. It has a history of approximately two hundred years in Tsubame-shi, Niigata.

First, he brainstorms the shape of the work with the customer. While understanding the customer’s preference, he decides on the design, cuts out the appropriate size on a square copper sheet, and hammers it into the basic form. He then places the piece on an iron rod called Toriguchi and forges it repeatedly with a hammer. His hammering gesture is relatively inclined, which is different from the usual way of forging it vertically.

The copper hardens during the forging process, so it is “annealed” to soften it and then it is shaped with various Toriguchi and hammers. Finally, he coats the inside of his finished works with tin and dips them into a hot sulfate solution to prevent rusting and to stabilize the color.

Annealing Tin

YASUTAKA OOHASHI TSUIKI COPPERWARE CRAFTSMAN

Craft is a conversation with materials and tools to appreciate life.

Yasutaka Oohashi was born in Tsubameshi, Niigata and graduated from Yoshida High School. He is currently based in Niigata-shi, Niigata. He joined Gyokusendo in 1997, following his father’s path. After ten years of apprenticeship, he became an independent craftsman and established his brand in 2007. To perpetuate traditional Tsuiki craftsmanship, he insists on forging with a copper sheet from scratch to completion. Yasutaka collaborates with numerous designers to create and promote various types of copperware.

1997 10 2007

SUSUMU YOTSUKAWA

CREATIONS ENLIVENED: METAL 20.03.2021 - 24.07.2021

SUSUMU YOTSUKAWA

INCENSE BURNER

Contemporary Brand Producer: Susumu Yotsukawa KISENDO

Incense appreciation was introduced to Japan along with other Chinese cultures such as tea ceremony, flower arrangement, Chinese chess and calligraphy. After years of refinement, a unique culture of Kōdō — the Japanese art of incense appreciation, was gradually formed and widely spread among the people.

The collection of incense burners from KISENDO represents Takaoka Copperware from Japan which has been handed down by three generations of craftsmen.

Swallow Incense Burner Swallows are known as “auspicious birds”.

In folklore, they were regarded as spiritual creatures which symbolize good luck.

Round Peacock Incense Burner Peacocks symbolize status and wealth.

Silver Chrysanthemum Incense Burner The chrysanthemum crest on the silver incense burner represents the imperial family in Japan.

SUSUMU YOTSUKAWA

FOUR MYTHOLOGICAL CREATURES LID LIFTERS

Contemporary Brand Producer: Susumu Yotsukawa KISENDO

These lifters are used to pick up the lid of an incense burner. They are adorned with the four mythological creatures: Azure Dragon, Vermilion Bird, White Tiger and Black Tortoise, believed to be auspicious, ward off evil spirits and strike a balance between Yin and Yang. In Chinese astrology, these creatures also represent the four cardinal points — North, East, South and West.

SUSUMU YOTSUKAWA

GUINOMI SAKE CUP

NATURAL & KUROURUSHI — WAN/ FUJI/ BAMBOO/ DON

GUINOMI SAKE CUP

Contemporary Brand Producer: Susumu Yotsukawa KISEN KISEN KISEN This collection of unique cups wonderfully blends Takaoka metalworking together with Ishikawa woodworking. The bottom is made of brass, so that the center of gravity is concentrated on the bottom of the cups. The Kurourushi series are made of wooden cups and refined with black lacquer.

Guinomi Sake Cup Kurourushi

SUSUMU YOTSUKAWA

FLOWER VASE RAPPA SLIM Contemporary Brand Producer: Susumu Yotsukawa KISEN KISEN KISEN

A brass vase of more than a half century old design has been reborn with colours to choose from. It is elegantly designed with engraved lines and a polished rim.

Story of the Traditional Craft The Yotsukawa brothers are the thirdgeneration successors of the family business. Susumu Yotsukawa is the brand producer of KISEN while his elder brother Motomasa Yotsukawa is the president of KISENDO. KISENDO was founded by the grandfather of Susumu Yotsukawa in 1946 during wartime. At that time, metals had to be submitted for wartime needs. People collected metal materials from discarded combat vehicles and broken aircrafts to make the most needed daily utensils — pots, which prompted his grandfather to start his casting business.

Motomasa Yotsukawa

Likewise, the father of Susumu was also a casting master. When his father was in charge of the firm, the current showroom was a copper casting factory. In the 1970s and 1980s, the business shifted its focus to design and began collaborating with various copper casting craftsmen in Takaoka to produce the copperware.

Together, the designers and craftsmen made timeless homeware that meet the needs of modern families.

Challenges evolve with the times. For Susumu Yotsukawa, his challenge is to design delicate craftwork as gifts. He founded KISEN with the refined title of his family business in 2014, since then he has been creating a new collection every year for the brand. Discovering that wooden cups could bring out the flavor of sake, the design team developed a woodware line five years ago.

KISEN

3 KISEN

70~80

2014 KISEN

5

Craft to me is utility in beauty and beauty in utility. It is not an artwork. Craft is beauty and utility co-existing together that stands the test of time.

Making Process The majority of KISENDO and KISEN’s works utilize the casting techniques of Takaoka Copperware, one of the traditional crafts in Japan. Casting makes use of the fact that metal melts at high temperatures.

Molten metal is poured into molds and allowed to cool and harden.

Takaoka Copperware is a type of copperware produced in the area around the city of Takaoka in Toyama prefecture.

The various products range from small items such as indoor ornaments and vases to larger items such as temple bells and copper statues.

The notable features of Takaoka Copperware are the skillful hands-on casting techniques of the artisans and the polishing, metal carving and inlaying production techniques. These techniques have been combined and developed to create a wealth of styles. People are fascinated when they see the strength, delicacy, and flexibility of Takaoka Copperware, which is made so that it takes on a profound expression over time and can be enjoyed as it changes throughout the years.

KISEN

SUSUMU YOTSUKAWA CONTEMPORARY BRAND PRODUCER, THIRD-GENERATION SUCCESSOR OF KISENDO & FOUNDER OF KISEN KISEN KISEN

Susumu Yotsukawa was born in Takaoka, Toyama. He grew up in Kanayamachi, a place with a long history of four hundred years in metal casting. Since he was a child, Yotsukawa had played with sand casting tools and watched his grandfather and father unraveling copperware from the sand.

After getting a management degree from Ottawa University, Yotsukawa spent some time exploring the medical industry. During his thirties, Yotsukawa’s fondness upon the charm of the family business burgeoned further. The close connection the brand had with life brought him back to Japan to join KISENDO in 2002 as a designer and developed KISEN. KISENDO mainly produces traditional copper crafts such as incense burners made by contemporary artisans. KISEN, on the other hand, introduces new elements like the application of bamboo, wood, glass, lacquer and so forth into traditional metalsmithing techniques, bringing creativity and modern design elements into this new lifestyle line.

Four years ago, he was determined to turn the group into a globally known design brand, creating products that are not only beautiful but practical and soothes the spirit.

Since the first generation, KISENDO has developed into an organization with its design and marketing department, workshop, and a team of collaborative craftsmen. The formation of such organization is rare in Takaoka, giving them more focus on the design and enabling them to win many international design awards.

1966 400

30 KISEN

2002 KISEN

KISEN KISEN

4