A Visit with Wood Artist Rei Uchiyama
Leaving NiOR, we headed straight for Shiga Prefecture.
Passing through misty mountain roads and along rice paddies, an old concrete factory-like building suddenly appeared, entirely covered in ivy.
Here lives woodworker Rei Uchiyama, who uses this space as both her studio and home.
The building, originally used by Nippon Telegraph and Telephone Public Corporation and later abandoned, was renovated by her and her husband, who is also a woodworker, and is now home to their family of four.
Since childhood, she has loved interiors, declaring that "arranging living spaces is paramount." The result is a wonderful, open space where every detail is infused with her sensibility.
As someone who secretly longed for a country life, I was deeply moved to the point of sighing, and felt an almost envious admiration (or perhaps, a little jealousy).
I was guided to a reception room where a Thonet chair fit so perfectly it was as if it was "born for this room," and I spoke with Ms. Uchiyama.
"The reason I started making cutting boards was because there was leftover chestnut wood from renovating this building," Ms. Uchiyama explained.
"I wondered if I could make something with it."
The leftover chestnut wood varied in size, and its shapes were, of course, irregular.
The cutting boards were creations born from limited conditions and materials.
She shared insights into her creative process: "Rather than 'making' a piece, I wanted to create something that honestly utilized the material and that people could enjoy watching change over time as they used it."
Ms. Uchiyama mentioned that she has always liked antiques and old tools.
"I liked wooden pizza peels, for example, and beachcombing was a hobby of mine; I used to pick up round pebbles rolling along riverbanks," she reminisced, revealing hints of her design inspirations.
The phrase "simple" might have subtle nuances depending on how it's interpreted. To rephrase it, it's more like "that understated material feel."
Though seemingly disciplined industrial products, in reality, no two are alike. Their charmingly plump and unique freehand shapes directly convey her unpretentious kindness and warmth.
When I commented, "The black cutting boards looked very fresh and modern,"
Ms. Uchiyama casually revealed her production method: "I make an iron mordant solution from iron powder, which is also used when cooking black beans, and vinegar. I react it with the tannins in the wood to dye it black.
For the finish, I soak it in perilla oil, so all the coloring is food-safe."
I believe artists generally fall into two broad categories:
those who completely separate their artistic activities from their private lives, and those whose artistic activities are intertwined with their lives and reflected in their work.
If such a distinction can be made, Ms. Uchiyama seems to fall into the latter category.
In fact, she herself told me, "Even when working as an artist, I don't think it's possible to force my life.
In my case, I believe that valuing my life leads to my way of thinking and what I create."
One of the insights I gained from meeting her this time was the realization that her creations are infused with the sensibility that springs forth from Ms. Uchiyama herself as an individual, possessing both the strong core of an artist and a beautifully refined aesthetic.
Though "works of art," these cutting boards were created with the premise of being used as everyday tools.
As time passes with use, each will develop its own unique character.
This truly embodies the life's work of Ms. Uchiyama, both as an artist and a mother, and perhaps they are a symbol of how things inevitably come into being and, by partly letting nature take its course, change just like life itself.
The cutting board I own from Ms. Uchiyama is still young.
I look forward to the changes it will undergo with use and hope to gradually understand the feelings Ms. Uchiyama wishes to express.
NiOR and Rei Uchiyama "Two-Person Exhibition"
November 19 (Sat) - November 20 (Sun)
11am – 7pm
groundfloor Gallery 1-8-1 Nakameguro, Meguro-ku, Tokyo 2F
Inquiries: customer@undm.jp / 03-3794-4037
For event details, click here
Passing through misty mountain roads and along rice paddies, an old concrete factory-like building suddenly appeared, entirely covered in ivy.
Here lives woodworker Rei Uchiyama, who uses this space as both her studio and home.
The building, originally used by Nippon Telegraph and Telephone Public Corporation and later abandoned, was renovated by her and her husband, who is also a woodworker, and is now home to their family of four.
Since childhood, she has loved interiors, declaring that "arranging living spaces is paramount." The result is a wonderful, open space where every detail is infused with her sensibility.
As someone who secretly longed for a country life, I was deeply moved to the point of sighing, and felt an almost envious admiration (or perhaps, a little jealousy).
I was guided to a reception room where a Thonet chair fit so perfectly it was as if it was "born for this room," and I spoke with Ms. Uchiyama.
"The reason I started making cutting boards was because there was leftover chestnut wood from renovating this building," Ms. Uchiyama explained.
"I wondered if I could make something with it."
The leftover chestnut wood varied in size, and its shapes were, of course, irregular.
The cutting boards were creations born from limited conditions and materials.
She shared insights into her creative process: "Rather than 'making' a piece, I wanted to create something that honestly utilized the material and that people could enjoy watching change over time as they used it."
Ms. Uchiyama mentioned that she has always liked antiques and old tools.
"I liked wooden pizza peels, for example, and beachcombing was a hobby of mine; I used to pick up round pebbles rolling along riverbanks," she reminisced, revealing hints of her design inspirations.
The phrase "simple" might have subtle nuances depending on how it's interpreted. To rephrase it, it's more like "that understated material feel."
Though seemingly disciplined industrial products, in reality, no two are alike. Their charmingly plump and unique freehand shapes directly convey her unpretentious kindness and warmth.
When I commented, "The black cutting boards looked very fresh and modern,"
Ms. Uchiyama casually revealed her production method: "I make an iron mordant solution from iron powder, which is also used when cooking black beans, and vinegar. I react it with the tannins in the wood to dye it black.
For the finish, I soak it in perilla oil, so all the coloring is food-safe."
I believe artists generally fall into two broad categories:
those who completely separate their artistic activities from their private lives, and those whose artistic activities are intertwined with their lives and reflected in their work.
If such a distinction can be made, Ms. Uchiyama seems to fall into the latter category.
In fact, she herself told me, "Even when working as an artist, I don't think it's possible to force my life.
In my case, I believe that valuing my life leads to my way of thinking and what I create."
One of the insights I gained from meeting her this time was the realization that her creations are infused with the sensibility that springs forth from Ms. Uchiyama herself as an individual, possessing both the strong core of an artist and a beautifully refined aesthetic.
Though "works of art," these cutting boards were created with the premise of being used as everyday tools.
As time passes with use, each will develop its own unique character.
This truly embodies the life's work of Ms. Uchiyama, both as an artist and a mother, and perhaps they are a symbol of how things inevitably come into being and, by partly letting nature take its course, change just like life itself.
The cutting board I own from Ms. Uchiyama is still young.
I look forward to the changes it will undergo with use and hope to gradually understand the feelings Ms. Uchiyama wishes to express.
NiOR and Rei Uchiyama "Two-Person Exhibition"
November 19 (Sat) - November 20 (Sun)
11am – 7pm
groundfloor Gallery 1-8-1 Nakameguro, Meguro-ku, Tokyo 2F
Inquiries: customer@undm.jp / 03-3794-4037
For event details, click here
