TO-SO BOWL by JYUKOU/ 寿光 岩槻江戸木目込人形

人形の素材で、器をつくる。 桐の粉と糊からつくられ、人形の素材として使われてきた「桐塑」。 その質感をそのまま生かし、今の暮らしで使える形を考えた。 試作を重ねながら生まれた、桐塑と木目込みの技術からつくる「TO-SO BOWL」。 素材を見せ、技術を生かす。 人形では裂地に覆われることの多い桐塑を、あえてそのまま見せる。 木目込む部分を絞り、桐塑と裂地、それぞれの質感を生かす。人形づくりの技術から、TO-SO BOWLの表情をつくる。 人形づくりの技術は、人形だけのものだろうか。 人形の素材として使われてきた桐塑と、裂地を木目込む技術。その素材と技術を、今の暮らしの中でどう使えるか。人形作家の小林さんと試作を重ねた。 素材をそのまま見せること。 木目込む部分を絞り、桐塑と裂地の質感を対比させること。 そうして生まれた「TO-SO BOWL」。 職人と一緒に試しながら、受け継がれてきた技術に、新しい使い方を見つけていく。 ーーーーーー From the material of dolls, a bowl for everyday life. Tōso, made from paulownia powder and paste, has long been used as a material in traditional doll making. By revealing its natural texture, we explored a form that could become part of everyday life today. Through repeated prototypes, TO-SO BOWL was born from tōso and the traditional technique of kimekomi. Revealing the material, making use of the technique. In traditional doll making, tōso is often covered with fabric. Here, we chose to leave the material visible. By limiting the areas of kimekomi, the different textures of tōso and fabric come through. The traditional doll-making technique becomes part of the expression of TO-SO BOWL. Do doll-making techniques have to belong only to dolls? Tōso, a material traditionally used for dolls, and kimekomi, the technique of inserting fabric into the surface. Together with Kobayashi-san, we explored how these materials and techniques could find a place in everyday life today. Revealing the material as it is. Limiting the areas of kimekomi to create a contrast between the textures of tōso and fabric. From these experiments, “TO-SO BOWL” was born. By experimenting together with the craftsperson, we explore new ways of using techniques that have been passed down over time.