Info

Toko Okuda, 2015 January 2nd, Barcelona

 
 

[ CONCEPT ]

Miracles of Craftsmenship

Now labeled “works of art”, medieval masters once produced exquisitely beautiful furnishings and goods for their queens and kings. Devoting endless care and attention, they poured their lives into creating little treasures.

We can well imagine that such craftsmanship and care could be found in household objects and personal belongings in the Middle Ages even if not produced especially for royalty or aristocracy.

Museums and private collectors highly value works of a tour de force of craftsmanship which they preserve and regard as a priceless cultural craft heritage.

At the same time, our living craft heritage, represented by honourable masters and their apprentices, seems to be facing natural extinction, even though they still preserve their authentic technic and originality with effort in today’s industry. Although they might not clamor for attention or complain about their plight, they deserve as much careful protection as do our endangered animals and our beleaguered natural environments, and as do our colourful world with various cultures.

The crisis of traditional crafts is not new. It has unfolded over many decades or more than a century. The lives of craftsmen and of working people might have always been filled with hardship and difficulties, but it can be questioned if they have ever faced tougher circumstances than they do in our age.
Medieval artisans certainly would have felt a sacred pride, different from what we can find in ourselves, knowing that they could focus much more on bringing out the beauty of any products on which they worked. In premodern times, hereditary artisans might well have welcomed their stations in life as honorable occupations with the unique paths that lead into their innermost souls. Their fate would have been too natural to regard as enemy or ally.
Moreover, many master artisans managed their own workshops as rich business owners, and enjoyed high social status.

We present a series of furniture named “CATS DREAM OF DUKE ZHOU” inspired by and dedicated to the master artisans and artists of medieval times, their ideals, and their achievements.

 

 

 

We have been blessed with craftsmen and factories representing Spain and Japan, you can see their graceful workmanship throughout the wood and metal components.

The mosaic board represents the unique contributions of Maestro Shinichi Mizushina from Japan. He is the only person in the world can match the beauty and perfection of his mosaic board, with the majestic finishing techniques of his own invention.

If he retired, we would have no choice but to abandon production of this series of furniture. No one else can produce this woodwork — unless there is someone who can inherit not just his techniques but also his vision and creativity which underlies them.

In this sense, his contribution represents more than just a fortuitous encounter: truly it constitutes once-in-a-million opportunity.

 

 

Grown Up Furniture, A Playful Touch

A center table for people who like to drink whisky watching a movie on a couch or sofa.

It is practical and sensual, but quiet in a non-obtrusive way.

It presents refined metaphors as a piece of contemporary art as well as the rich flavor of beautifully intricate craftsmanship as in, for example, the delicate work on the back side of the top board, or in the trays placed on the table. Even after much use it provides inexhaustible discoveries, exclusive crafts furniture, fine materials, with simple and elegant design as Art Deco.

 

 

[ THE DESIGN ]

The dazzling mosaic table top makes the most of the natural wood grain, with its unique finish of exquisite colour. The elaborate metal frame is also remarkable. Its impressive colour, the blackish shade on sulphurated brass, results from an exclusive multi-step process requiring the work of highly skilled craftspersons.

The three colour gradations on the x-stretcher reflect a unique combination of burnished brass, satin copper, and burnished copper. This effect is achieved by once giving a proper copper plating on brass bars, which is then partially removed to half its thickness in certain areas, and removed completely in other areas.

Note also the fine cloisonné application on the legs of the table, which have silver leaves laid inside on the bottom in order to obtain a rich, adumbrated and full-toned colour.

 

 

 

[ MATERIAL ]

< Frames >

“PLATILI The Black Cat” (frame colour: sulphurated brass black)

Metal:Brass, 2mm and 3mm bars.

Copper plating, sulphidation, polish(satin, mirror, gradation), black paint, varnish

Cloisonné:enamel, silver leaves, 2mm cooper board

“AMESHA SPANDA The Red Cat” (frame colour: shiny copper red)

Metal:Brass, 2mm and 3mm bars.

Copper plating, sulphidation, polish(satin, mirror), black paint, varnish

Cloisonné:enamel, silver leaves, 2mm cooper board

< Top board >

Wood:Paulowina tomentosa(Princess Tree), Urushi, Tonoko(mineral powder),Water repellent coating

[ SIZE ]

W 1208
D 436
H 500

 

 

 

 

 

 

 

 

 

 
 
 
 
 
 
 
 
 
 

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