Evolving and devolving at the same time
What if we could express such an ideal in glass?
MIN GALLERY will host a two-person exhibition by precious stone sculptor Koji Takuma and glass artist Tsuyoshi Tsujino from March 19th to 30th, 2025.
Takuma explores new forms of expression using stone (quartz) as a medium, while Tsujino continues to challenge himself to expand the horizons of glass's possibilities. Crystal and glass have one thing in common: their sense of transparency, but when you look at their work, you realize that this image alone is too simplistic. This is because behind the things they create lie layers of complex and diverse expressions. Beyond transparency, there is something else there.
An exhibition of works by two artists, stone and glass, has been a long-cherished dream since the founding of MIN GALLERY. We spoke to each artist about their thoughts on this exhibition, confident that it will provide a fresh impression on visitors. The first part features Tsuyoshi Tsujino. On this day, we visited Tsujino's studio in Shirahama, Wakayama Prefecture, together with Takuma, who is finally in the final stages of creating the works to be exhibited.
Tsuyoshi Tsujino's (foreground) second studio "CAVO" is located in Nanki Shirahama. It is located along the coast overlooking the Pacific Ocean, and is a place of relaxation for Tsujino. While drinking tea with Koji Takuma (back), whom he met for the first time.
Glass and crystal: new charm emerges when you look at each other
Tsuyoshi Tsujino and Koji Takuma met for the first time on this day. Tsujino has been creating glassblowing works since the mid-1980s, and Takuma is the second generation owner of Takuma Jewelry Sculpture, a precious stone polishing factory based in Kofu. He has made his living by creating works from quartz and agate.
Although the two artists have different backgrounds and work with different materials, they somehow feel a connection, and it was the hope of "MIN GALLERY" that they would one day be able to display their works together. When we approached the two for this reason, Tsujino told us, "Actually, glass and crystal both have one thing in common: they are both made from silicon (silicon dioxide)."
"The raw material for glass is silica sand, which is finely ground quartz. However, not many people know that glass is made from sand in the first place. When I first saw Takuma's work, I thought, 'Wow, that's nice,' which is a little easy to put into words.
As a craftsman, I cannot escape from the definition that materials are natural. Ceramics and woodworking are made by carving or shaving clay or wood. The same goes for stone. However, some people may think that glass is a mass-produced industrial product, and that it is easy to make the desired modifications.
I imagine the excitement humans felt when they first discovered glass, and how glass was treasured and loved as a rare decorative item in an era when mass production was not possible, and then I try to think about what I can do with this material now when I create things." (Tsujino)
What emotions has glass brought to us at each moment in history?
Tsujino-san working hard on his creation. The high-ceilinged studio quickly heats up when the crucible is lit, even in the middle of winter.
Intrigued by Tsujino's story, I researched the origins of glass on the Internet, and began to wonder if there is any other material whose value has changed so dramatically in line with human activity.
Glass was discovered by chance in Mesopotamia, Egypt, around 4000 BC. It is said that baked sand underwent an unintended transformation, resulting in a sparkling, transparent solid. To the people of that time, it was no different to a jewel. Glass was also used in the ornaments left in the pyramids and the vessels preserved in the Shosoin Repository, and these were testaments to the prestige and prosperity of their users. Glassblowing was invented around the 1st century BC, and it is surprising to learn that the techniques invented by Phoenician glass craftsmen are almost identical to the techniques that Tsujino currently practices in his studio.
"I am using glass, a material with such a long history, in my creative endeavors, but I haven't landed anywhere yet. I think it will be a while before I'm satisfied," says Tsujino.
"I wonder what kind of emotion the person who first discovered glass must have felt. I imagine it was something similar to what we call jewelry today. People wanted it, so many people researched it and it became possible to mass-produce it, but as a result, the value of glass steadily decreased through the economic system. It is a convenient, easy-to-use material that is now indispensable in our lives, but that is not what I want to create. I think the right thing to do is to reverse this path and not mass-produce it. A big theme is how people will make things once mass production and mass consumption have been established. That's why I want to focus on handmade products. I think it's fine if people just make what they need, by hand." (Tsujino)
Is clear, pretty glass really necessary?
The molten glass, which is about 1000 degrees, is wrapped around a metal rod and removed from the crucible, and one person blows into it while the other shapes it. This difficult task, in which even the slightest mistake could lead to an accident, can only be accomplished by perfectly coordinating the tempo of every move.
Although Tsujino has been working with glass for decades, he says he always has various questions about it.
Is it possible that what has been purified is no longer needed?
Do we always have to consume pure things?
"If you just make good things without thinking, the value of those good things will go down without you realizing it. I think the idea of efficiency and rationality is actually already outdated."
He says that his motivation for working as an artist is to overturn these values.
Takuma echoed Tsujino's words.
"Even in the world of crystals, crystals that are completely clear and free of impurities are the rarest and have been highly valued. It's like the image of a crystal ball that fortune tellers look into to tell the future. However, I have been fascinated by the various inclusions hidden within crystals since I was a child. Crystals grow in clusters on quartz rocks, and they were born 5 to 15 million years ago and have been growing slowly ever since. They say it takes 100 years for them to grow 1 mm. Clear crystals that contain no impurities are extremely rare, but on the other hand, when I see the inclusions that shine deep within the stone with their mysterious designs, I am impressed that such things have been left behind in nature. My job is to capture these characteristics and beauty in the stone and turn it into a work of art. No one can decide what a 'good thing' is." (Takuma)
I wanted to create glass that combines evolution and degeneration.
There is a lot of glass in Tsujino's life, but there is not a single piece of glass that he can do without. Glass and other essential items are the tools of life for Tsujino.
Tsujino's works to be exhibited at this exhibition include the "primal" series, reminiscent of flickering flames of color, the "venetian" series, whose delicate and elegant workmanship hints at his artisanal temperament, and the "abyss" series, which has the appealing texture of a treasure long submerged in the deep sea. Although the series are completely different in style, they offer a glimpse into Tsujino's rich creativity and history. In particular, the newest series, "abyss," contains many unpublished works, so we hope you will take a look at them.
"abyss" series
"Abyss is a bit of an evolution, or should I say a devolution. I've been working on it for quite some time, but it's a series that has been constantly changing. Since I opened my new studio here in Shirahama, the ocean is always in front of me, and the scent is in the air. I find it interesting that various organic matter sticks to the surface of the objects pulled up from the ocean, creating natural designs. Come to think of it, the ancient Roman glass exhibited in museums has a silvery, sparkling surface, and there is something in common with that atmosphere." (Tsujino)
As I talked with the two of them, I found another commonality. That is the "time" that appears in their works. By coincidence, both artists tried to express in their works their yearning for time, which is something that humans will never be able to control.
"This is the first two-person exhibition for Tsujino-san," and "this is the first time I've had a solo exhibition in the first place," says Takuma-san. The exhibition, which will feature the works of both of them, is about to begin.
Glass Artist
Takeshi Tsujino
Born in Osaka Prefecture in 1964. After graduating from a design college in Osaka, he traveled to the United States and studied glassblowing at various schools and studios, including the Pilchuck Glass School in Seattle. After returning to Japan, he founded the studio " Fresco " in Izumi City, Osaka Prefecture in 2001. In 2022 , he will open a new studio, " Cavo ," in Nanki Shirahama, Wakayama Prefecture. He is known both in Japan and overseas as an artist who creates glass works with overwhelming worldviews.
.
Text by Mayuko Yamaguchi
Photo by Yumiko Miyahama
.