Australian Wood Review - June 2018

58 Australian Wood Review

WOODTURNING

and scrapers. The hook tools cut with

wonderful efficiency (photo 3), and

the scrapers are a delight to watch

(photo 4).

Japanese turning does look unusual to

those trained in the Western tradition

(photo 5). For example, the tools

extend very far over the tool rest and the

movable rest looks insecure compared

to our locked-down device. But the

speed and efficiency of Japanese turners

can’t be denied and, after all, they find

our techniques just as strange.

Turned wares are marketed in many

places. There are small galleries in

turning regions where a range of

souvenirs are sold, from chopsticks

to platters, and most department

stores have a crafts department where

lacquerware is sold. While the majority

of turners work traditionally, when

turners achieve enough status they

might produce showcase pieces for sale

to turning connoisseurs (photo 6).

There are also specialist galleries

where high-end turning is available

and Kihachi Gallery in the town of

Kanazawa is one example (photo 7).

The owner, Yoshiteru Suya, was born

into a woodturning family, but didn’t

want to be a turner, so he decided to

sell quality woodturning. He says that

there is increasing interest in turned

wood covered in clear lacquer that

shows the grain, which he called kijibiki.

Yoshiteru sells a little work abroad,

but says that it is difficult because if

he pushes his individual marketing

too much he will be cut out of the

local network. In some ways the

traditions that keep Japanese turning

alive can stifle creative development.

While the strength of tradition

explains the survival of turning in

Japan, it is also one of the reasons for

its decline because most young people

don’t want to undertake a lengthy

apprenticeship and the population

of turners is aging.

In response, the Yamanaka Training

Centre was opened in 1997. They

offer one-year basic and two-year

3. The hook tool slices very
   cleanly. Turners constantly
   sharpen with a quick flick
   on a whetstone.


4. The Japanese scraper is a
   very simple tool used with
   remarkable efficiency.


5. Revered master Torao
   Nakajima proudly holds a
   one-off platter that could
   be used, if you would dare.


6. Mr Suya in his gallery.


7. Eiko Tanaka turning in her
   coffee shop.


8. A nest of Eiko’s bowls that
   both defy tradition and
   yet depend heavily on it.
   She believes her work has
   more feminine qualities
   than traditional work.

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