Research Project | Kenta Takeshige

Co-existence -Migration Dialogue through lacquer binding-

collaborators: Lennert BOUWENS & Fabian ESPINOSA-DIAZ

Project Overview
This project explores the theme of immigration through a cabinet symbolizing social structures. Each drawer contains its own unique story, some blending into their surroundings, others standing out, offering glimpses into diverse human natures. The Asian lacquer, which cracks under pressure, reflects the tension between identity and adaptation. 9 immigrants provide keywords, transforming their experiences into a visual language. The inside of the 10th drawer is finished with Roiro technique, which acts like a mirror, encouraging viewers to superimpose their own reflections onto the immigrant dialogue.
The concept of creating "Antwerp lacquerware", a lacquerware imitation of the 17th-century Antwerp lacquer cabinet, reverses the history of the Silk Road. By fusing Eastern lacquer art with the tradition of Antwerp's Western craftsmanship, this work reverses the flow of historical culture, transcending time and geography, and reconsidering belonging and cultural exchange through the poetic materiality of lacquer.

Technical Explanation of the Work
Hinoki Cypress was gradually shaved, allowing the wood to move before being refined to the desired thickness, with joints designed to follow the same direction. Honkataji was applied from the wooden base to the black upper layer. For Kanshitsu elements, styrofoam cores were wrapped in multiple linen layers. The Scagliola technique, reflecting Antwerp’s lacquer tradition, was reinterpreted through Urushi-e. 9 interviews generated keywords from each participant, translated into visual languages. By interweaving these keywords with imagery on the drawers’ front panels, the interviewees became active participants in the design, merging dialogue, material process, and visual expression.

whole stories ➝ sentences ➝ keywords ➝ images:

Western & Eastern Lacquer Art ➝ Exchange
Gratitude ➝ Humanity Fusion
Finding Family ➝ Meeting Point
Anonymity ➝ Diversity
Home ➝ Dream of Motherland
Mixing ➝ Harmony
Language, Work, Dreams ➝ Tower of Babel
Social Interaction➝ Melting Pot
Hard Junction ➝ Kintsugi

Jolités von België

The ultimate secret of lacquer art, a traditional Japanese craft, is to "knead well". By mixing Asian lacquer and Belgian elements, I intend to fuse and evolve the East (Japan) and the West (Belgium) in lacquer art.
Visit regions in Belgium and collect raw materials, landmarks and historical backgrounds. Get relevant information from artists, designers, curators, etc. at the places I visit. Mix Asian lacquer with local Belgian raw materials, and produce lacquerware with the design images of landmarks in each region. The lacquerware to be produced is not an object, but a work that can withstand practical use.

Ostend
material: mussel shells
design image: Fort Napoleon
Rumst
material: Rupel clay
design image: clay bread
Genk
material: Terril soil
design image: C-mine crane
Spa
material: Spa spring water
design image: Jolités de Spa

Traditional crafts are ecological and sustainable creative activities rooted in regions. However, because they protect tradition, they cannot keep up with the trends of the times, and the current situation is that some of them continue to decline. Crafts need further evolution. By mixing Asian lacquer and Belgian locality, you find new vitality in traditional lacquer art. It is necessary to "break tradition with tradition".
Crafts are an added value. By creating works in which lacquerware tells its own story, I would like to make the viewers reaffirm the added value of crafts. Furthermore, I recommend craftsmanship that does not burden the global environment. By developing works that incorporate the regional characteristics of Belgium, my work will contribute to the rediscovery of the diversity and history of Belgium.
(KASK graduation exhibition at the Ghent Design Museum)

Prototype for "Relational Design" by Royal Academy of Ghent (KASK)

This prototype was made for the project "Relational Design" of Ghent Academy of Arts (KASK). I was invited to participate in the research team by Professor Dirk van Gogh of the Department of Product Design and project manager. The project aims to design sustainable manufacturing. We reconsidered the concept of recycling by incorporating reassembly based on three elements: Furoshiki (textile), Origami and woodworking joints.

In my search I thought of adding more functions. Furniture can be roughly divided into boxes and legged furniture. I have incorporated these two different types into one package. In other words, it's a transformer.

Assemble the parts that fit neatly in the Furoshiki into a box. The Furoshiki fits into the lid. The parts can be rearranged into an altar. In my eagerness, I even added a third shape: a desk. It is a great deal, three in one. On the downside: this prototype does not contain any Origami elements.