The art of paper: folding, pleating and manipulation

Posted on July 1, 2019 by Toothpicker

Unlike children today, when I think of my childhood, paper played a crucial role in my early days. Aside from drawing on paper, I collected paper bookmarks, writing paper, and stickers; I dressed up paper dolls with my classmates after school; I did origami and paper cutouts; I learned calligraphy and practised on translucent paper; I made birthday cards for my parents… It would be fair to say that paper dominated my childhood.

But like most people these day, I am spending more time in front of the computer, and I sorely miss the days of touching and playing with paper. It is not easy to find a course that focuses on paper art (and I don’t mean origami or pop up books), yet I came across a Paper art course at the The Camden college and I quickly signed up for it. I loved it.

Years ago, I bought paper artist Peter Jackson‘s book ‘Folding techniques for designers’, and I have tried (and failed) to create some paper structures from the book. I have also applied some of the techniques onto textiles with some interesting results. Hence it was encouraging to know that our tutor/designer/artist Thomas Prendeville also used this book as a reference for the class.

Manipulating textiles using folded paper moulds is fun too

One of the most basic techniques is learning to score, which means creating a crease in the paper so that it can be folded easily. Thomas suggested using a ‘dead’ pen and a metal ruler to score lines on the paper. Another important point to remember is the rule of mountain (high) and valley (low), which applies to everything we fold. Folding straight lines are not difficult, but patience is required if you are folding larger pieces. And it becomes more challenging when you fold curves, so the weight of the paper has to be considered.

Paper folding feels like meditation to me. It is a meditative practice and you cannot rush it. Yet when you see the results, you would appreciate all the time and effort that has been put into it. Also, the possibilities are endless, and you can certainly apply the skills onto other materials like textiles and metal.

Architects like Thomas Heatherwick often applies paper folding techniques in his architectural work, e.g. the vents for a substation cooling system at Paternoster Square in London (2009) was derived from a piece of A4 paper. And for decades, Japanese fashion designer Issey Miyake has applied the pleating techniques in his collections. He invented the ‘garment pleating technique’ back in the 80s and launched the Pleats Please collection in 1994, which is consisted of light, stretchable and wrinkle-proof garments for all shapes and sizes. In recent years, Miyake and his Reality Lab. team also launched IN-EI, an innovative lighting line produced by Italian lighting company Artemide.

It always amaze me to see a flat piece of paper being transformed into a sculptural piece. I also love the shadow and light created by the ‘mountains and valleys’, which look beautiful when being photographed up close.

After scoring and folding for a few hours a week (plus homework time), we all improved and became quicker by the end of the course. Meanwhile, Thomas was keen to get us to make larger duplicates so that we could create hanging sculptures by connecting mutiple pieces together. Before I knew it, my place was filled with paper sculptures!

I thoroughly enjoyed the course and would love to carry on folding or apply the techniques elsewhere. Now all I need is paper, time, and a large studio.

Watch this space.

Other interesting paper artists:

Richard Sweeney – an English paper artist who creates large sculptural paper installations. He has also published books on the subject.

Fung + Bedford studio – I became acquainted with Angela Fung at a Christmas design fair. Angela is a paper artist and jewellery designer who makes origami-inspired jewellery and large scale architectural paper sculptures for many U.K. art institutions.

Foldability – a London based design studio run by Kyla McCallum, a set designer and paper artist who has been working with origami for over 10 years. She also sells paper art and lighting on her website.

Aditi Anuj – a textile designer from Mumbai not only produces large-scale paper sculptural installations, but she also conducts workshop and collaborates with other artists.

LCW 19: Beyond Paper – The Craft of Material Making at G.F.Smith

Posted on June 17, 2019 by Toothpicker

I have been wanting to visit paper specialist G . F Smith‘s showroom since it opened in 2016, but somehow never got round to it. The London craft week provided me the opportunity to visit the showroom as well as the new exhibition ‘Beyond Paper – The Craft of Material Making’ co-organised by MaterialDriven, a design agency and Material Library. The exhibition presented a collection of new, experimental materials that are at the forefront of design and sustainability.

G . F Smith & Son was founded by paper merchant George Frederick Smith in 1885. And for nearly 140 years, the company has been providing the finest speciality papers to the creative and fashion industries. Their Soho 4,000 sq ft showroom features a 14m-long collection wall displaying their paper in 50 Colorplan shades, accompanied by paper installations that change regularly.

The company’s long-time collaborator Made Thought not only designed the colour wall but also the corporate identity that was awarded D&AD “BLACK” Pencil for Brand Expression in 2015 (see below).

For those who think paper is ‘dead’, they probably have yet to visit this stunning and inspiring showroom.

At the exhibition space downstairs, the display included a wide range of sustainable and experimental materials that reflect the current landscape of making across fashion, interiors, architecture, and graphics.

Some of the innovative materials at the show are as follows: ‘That’s Caffeine’ tiles made from used coffee grounds and biodegradable resin by industrial designer Atticus Durnell; recycled polystyrene by designer Sam Lander; Papertile made from 100% post-consumer recycled paper by design duo Jasna Sokolovic and Noel O’Connell; textiles made from upcycled seashore plastic by De Ploeg; and Ecopet, a recycled polyester fibre made from plastic bottles etc.

It is always encouraging to see designers and makers using waste materials to produce new and biodegradable materials are not harmful to the planet. We certainly need more innovations and collaborations in this sector as a way of conserving our raw materials and preventing further damage to our highly polluted planet.

To be continued…

Eat, drink & shop in Kala Ghoda, Mumbai

Posted on April 13, 2019 by Toothpicker

Kala Ghoda

Since I stayed not for from the Kala Ghoda district in Fort, I spent much of my time exploring this area, where many cool shops and interesting eateries are located.

One of the coolest shops in the area is Kultre Shop with a focus on contemporary Indian graphic design. The shop serves as a platform for leading and upcoming artists, graphic designers and illustrators from India and around the world; enabling their work to be more accessible through the sales of affordable prints, stationery, homeware, t-shirts and books. When you walk into the shop, you are likely to be attracted by the colourful, modern and graphical prints on the walls and items on the shelves. The shop has two branches in Mumbai, and also sells online via their website (they ship worldwide).

Address: 9 Examiner Press, 115 Nagindas Master Road, Kala Ghoda, Fort.

Kulture Shop in Kala Ghoda

Not far from Kulture Shop is Filter, another curated design shop that sells a range of products from stationery to prints, t-shirts, books and homeware etc.

Address: 43, VB Gandhi Marg, behind Rhythm House, Kala Ghoda, Fort.

Filter

For more traditional and handcrafted items, the Artisans’ Art Gallery and Shop is the best place to go to. The shop and gallery was founded in 2011 by Radhi Parekh, a designer and art promoter who comes from a family that has a long-standing association with local textiles.

The shop sells a range of high-quality handmade textile items and jewellery. Although the prices are not cheap, the quality is much better than what you would find at the markets.

At the time of my visit, there was an Urushi Japanese lacquerware exhibition by Japanese artist Yukiko Yagi and Meguri Ichida showing at the gallery, which was a pleasant surprise.

Address: 52-56 V B Gandhi Marg, Kala Ghoda, Fort.

Urushi Japanese lacquerware exhibition and Indian textiles at the Artisans’ art galley and shop

Nicobar is the younger and more affordable sub-brand of the city’s iconic sustainable apparel and homeware brand Good Earth (see below). Their minimal and organic clothing is comfortable, versatile, contemporary, and particularly suitable for travelling.

The shop is divided into the cloithing section and home section. The home section sells a range of home furnishings, homeware and ceramics that would not look out of place in most modern homes.

Address: #IO Ropewalk Lane, above Kala Ghoda Cafe

Nicobar

Obataimu is a cool conceptual clothing and design shop that is inspired by Japan and India. Influenced by both cultures, the founder Noorie Sadarangani likes to experiment and treats her retail business like an art project. When you step into the shop, you would notice that wood is the predominate material here, and at the back, there is a glass partition that enable visitors to see the workshop where the tailors/ artisans work (all dressed in white). All the clothing on display is not for sale, instead every piece is made to order to reduce wastage. The clothes here focus on innovative materials, traditional craftsmanship and sustainability, so what more can you ask for?

Address: B. Bharucha Marg, Kala Ghoda, Fort.

The shop front of Obataimu

Before my trip to India, I was unaware of the contemporary apparel scene in India, therefore, I was pleasantly surprised to see some wonderful shops in Mumbai that sell handmade, sustainable, classic and affordable clothing and accessories. One of them is Cord Studio. The focus here is craftsmanship and nostalgia; you can find well-made leather bags and accessories, and clothing that is practical and contemporary.

Address: 21 Ropewalk street, Kala Ghoda, Fort. (Opp. Nicobar and Kala Ghoda cafe)

Cord studio

Even though I am not a tea person, I thoroughly enjoyed my visit to lovely San-cha tea boutique. The two girls/staff were very friendly and knowledgable and made me two different cups of tea to try. The brand was founded by tea master, Sanjay Kapur in 1981, and they sell over 75 varieties of tea from green to white, black, oolong, and blended ones like masala chai. I bought some masala chai for myself and several friends, and I like it very much. Although I have not been converted to a regular tea drinker, it is nice to enjoy something different occasionally .

San-cha Tea Boutique

Art on the street: Rampart Gallery

Yazdani bakery and cafe is well-known for its brun maska

Ice cream at Bombay Street Treat

I don’t usually visit a cafe/restaurant twice on a single trip, but I did return to Kala Ghoda Cafe a few days after my first visit. This relaxing venue is a cafe, bakery, wine bar and gallery. The cosy cafe part is housed inside an early 20th century barn with plenty of skylight coming through from the roof. I had a simple lunch here one afternoon, and I really liked the laidback vibe and atmosphere.

I came back to try the wine bar at the back one night because I didn’t want proper dinner. I ordered a fish tikka and a green salad (although I was told not to eat anything raw in India, I took the risk here, and I was totally fine afterwards), and I reckon the fish tikka here was the best I have EVER tasted! I even tried the local Indian rose, which was surprisingly refreshing and very drinkable. I really recommend a visit to this cafe and wine bar if you are in the neighbourhood.

Address: Bharthania Building, A Block, 10, Ropewalk Lane, Kala Ghoda, Fort.

Kala Ghoda Cafe

I decided to try the popular vegetarian Burmese restaurant Burma Burma after reading many positive reviews online. I visited Burma two years ago, but I have not had the cuisine since.

The interior of the restaurant is sleek and modern, with a bar that serves very interesting mocktails. I had a set menu that included several classic dishes which were all very tasty, and together with the mocktail, the bill came to less than £10 – I (as a Londoner) would consider that a bargain.

Address: Kothari House, Allana Centre Lane Opposite Mumbai University Fort, Kala Ghoda

Burma Burma

Arguably Mumbai’s most famous seafood restaurant, Trishna’s restaurant front looks quite intimidating with a seated guard by the door. I decided to brave it and walk in with one aim: to eat their famous crabs!

To my surprise, the decor inside is simple and unassuming. The waiter was eager to get me to try their famous butter garlic crab and so I did. It did not disappoint – the crab was rich and delicious (and I probably gained 2 lbs after eating it). The meal was the most expensive one I had in Mumbai, but it was worth it as that was the only Indian crab I got to try throughout my month-long trip!

Address: 7, Sai Baba Marg, Kala Ghoda, Fort.

Butter garlic crab at Trishna

Not far from Kala Ghoda, there is a charming and nostalgic restaurant that stands out for its ambience and history, and it is a MUST if you want to experience ‘old Bombay’.

Britannia & Co. is a third generation Irani restaurant and one of the last remaining Parsi cafes in south Mumbai. The popular Dishoom chain in London was modelled after these once magnificent cafes.

Opened in 1923, Britannia’s Zoroastrian/Iranian proprietor, Boman Kohinoor, is now 96 years old, and yet he still visits the cafe regularly. It was lovely to see him greeting his regular customers and being photographed by them. The cafe was originally set up by his father, and he has been working here since he was 16. I couldn’t help but smile when I saw the painting of Queen Elizabeth II next to a portrait of Mahatma Gandhi, both hanging beneath a gilt-framed picture of Zarathustra, the Zoroastrian prophet worshipped by the Parsis.

The most iconic dish is the Berry Pulav, a recipe that the owner’s late wife brought back with her from Iran. The barberries used in the pulav that give it its distinct flavour are imported from Iran. I ordered a paneer berry pulav, and when the plate arrived, the paneer was nowhere to be seen. Then as I started to mix the rice, I realised that the paneer and sauce was at the bottom of the plate – it would have been embarassing if I had called the waiter over to ask him about the paneer! I have never tried this dish before, and I found it very tasty and comforting; I guess it is probably regarded as a Parsi comfort food.

It is sad to see that only a few of these Parsi cafes are left in the city, and I sincerely hope that this cafe will still be around when I visit Mumbai again. There may be numerous modern and fancy restaurants in the city, but none can match the personal, historic and nostalgic cafe like this.

Address: Britannia and Co., Wakefield House, 11, Sprott Rd, Ballard Estate, Fort. (this restaurant only opens for lunch except Sats and closes on Suns)

Britannia and Co.

Elsewhere in Cobala, I visited Good Earth, a luxurious apparel and home furnishing shop founded by Anita Lal 24 years ago. The brand bridged the gap between craft and luxury, emphasising on craftsmanship and sustainability. The apparel and craft items here are more old school, traditional and pricey, which differs considerably from its sub-brand Nicobar.

Address: 2 Reay House, Apollo Bandar, Colaba

Good Earth

Not far from Good Earth, I stumbled upon Clove The Store, which is a new luxury fashion and homeware brand. Its founder is Samyukta Nair, who resides in both Mumbai and London, also runs a sleepwear brand called Dandelion, and the Jamavar Women’s Club in London. The clothing and home furnishings on sale here are unique, well-made, and contemporary. The female staff was also very friendly and helpful, which made me feel very welcoming.

Address: 2, Churchill Chambers, Allana Road, Colaba.

Clove The Store

I returned to Mumbai for one night before leaving India, and I chose to stay in Khar West, which was closer to the airport. It is a relaxing residential neighbourhood, and apparently home to many Bollywood celebrities and business industrialists. Tucked away in the Chuim Village is a small DIY paper craft shop called Sky Goodies. I had to ring the door bell to be let in, but once inside, you would be surrounded by many colourful and delightful paper objects. Founded by two designers Misha and Amit Gudibanda, they drew inspiration from paper and hand-painted art, and started to create DIY paper kits. There are various themes to choose from, and you can make stationery, home decorations, calendars and paper animals etc. I think their designs are unique, fun, and affordable, so I bought a few as souvenir to give to friends, and they were all very impressed (and surprised) when they received the kits. You can also order online via their website or from their shop on Etsy.

Address: Ground Floor, Bungalow no 29, Chuim Village Rd, Khar West

Sky goodies shop

After visiting Sky goodies, I came across KCRoasters (Koinonia Coffee Roasters), which specialises in artisanal Indian coffee. The cafe is compact but stylish, with a laidback vibe, which kinda makes you forget that you are in Mumbai. I had a cold brew (as it was a very hot day), which was balanced and strong as I like it.

Address: 6, Chuim Village Rd, Khar, Chuim Village

KC Roasters

On the last day of my trip, I got to catch with my busy local actress friend (who never seems to get a day off work). She asked me what I wanted to have for lunch, and I told her that I was craving for salads (after having Indian food daily for 3 weeks)! She suggested the Bombay Salad Co. in Bandra, and it was exactly what my body needed. I broke the raw food rule again, but luckily, I was perfectly fine afterwards. There are many salads, juices and sandwiches to choose from, and everything we had was fresh and tasty. Looking around, I noticed that the cafe was full of health-conscious looking ladies, so I guess this is a popular spot for ladies who lunch.

Address: Shop No, 1, 16th Rd, near Mini Punjab Hotel, Bandra West.

Bombay Salad Co.

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Japanese textiles workshop (Part 2): Katagami & Katazome

Posted on October 28, 2018 by Toothpicker

Top: a visit and demonstration of katagami by the Ise-Katagami artisan Isao Uchida

Like I mentioned in my previous entry, my knowledge on traditional Japanese textiles techniques was quite minimal before the workshop. I have done some shibori techniques like itajime and pole wrapping, but I have never done any stitch shibori nor Katagami and Katazome before, and so when I received a stencil cutter and some stencil paper from Bryan in the ‘homework’ box before the workshop, I had to google frantically to get some ideas on how to create three unqiue patterns.

So, what is Katagami? It is an ancient Japanese paper stenciling craft that dates back to the 6th century. The specific paper required is made up of several sheets of washi (Japanese mulbery paper) pasted together with kakishibu (a tannin-rich persimmon juice), resulting in a strong and flexible, brown-coloured paper. Patterns can then be cut out with a razor-like cutter or punched out with various tools. It is also possible to overlap multiple stencils to create intricate and beautiful patterns.

Botom: a vintage katagami stencil from Bryan’s collection

We had the prilvilege to meet the Ise-Katagami artisan Isao Uchida who demonstrated a skill that he has practiced for several decades. He had just been named as the ‘Living National Treasure (Ningen Kokuhō)’ by the Japanese Government, and he came to pay Bryan a visit before attending the ceremony with the Prime Minster that eveing.

The craft of katagami is often accompanied by katazome – a traditional craft of stencil resist-dyeing using a paste made from rice husks, lime and water. Using the katagami paper stencils, the rice paste is brushed onto the cloth and when dried, it is immersed in the dye, like indigo. In the old days, katazome was used primarily on kimono fabrics, but now it has become a dying art form as the demand for kimonos have decreased significantly in modern Japan.

During the workshop, we spent a full day working at the katazome paste maker and dyer’s home/workshop, Hiroshi Noguchi, in Hachioji. Mr Noguchi is the a sixth-generation paste maker and dyer who specialises in indigo katazome. He works with his son, and his young grandson (the eighth generation), who showed immense interest and enthusiasm with the family bsuiness.

At Mr Noguchi‘s workshop, we watched him making the rice paste from scratch, and his son preparing the paste for us to use. When the paste was ready, we applied it onto the cotton cloths laid out on long boards through the stencils we had each designed. Since it was a very hot day, the paste dried fairly quickly in the sun. These long cloths were then hung horizontally outside and we all had a go at applying a special grey dye onto them.

Aside from the long strips of cloths, we also cut up some shorter ones and dipped them in the indigo vats. Since the paper stencils are very strong, we could easily wash them and reuse them over and over again.

The experience of working at Mr Noguchi‘s workshop was novel and humbling. It was encouraging to see that this craft has been passed on for so many generations, and that he was generous enough to let us use his workshop. I highly respect Bryan for trying to protect these traditional Japanese arts and crafts from disappearing by bringing his students here in order to support these artisans. With so many anicent arts and crafts vanishing globally due to our ‘fast culture’, it is time to review our lifestyle and support artisans who have spent their entire lives dedicating to one specfic craft or art form.

Papermaking with plants workshop in The Highlands

Posted on October 2, 2018 by Toothpicker

The scenery from Ullapool to Assynt

Scotland is one of my favourite places in the world. I love the landscape, wilderness, people and traditions; however, I am not so fond of its weather – a crucial element that has put me off moving up there. I have been traveling up to Scotland annually for the last few years to attend a meditation retreat in June, but I would only stay for about 1 week or less each time. This year, I decided to explore further and spend longer time there during my 6-month sabbatical. I stayed for three weeks in July. It started in Glasgow, then Fort Williams, Ullapool and and the Isle of Lewis.

I stayed in Ullapool to attend a paper-making with plants workshop at a local artist, Jan Kilpatrick‘s home/studio in Assynt, a remote area north of Ullapool. Since I wasn’t driving, Jan arranged her friend and workshop attendee, Jo, to give me lifts during the week as she happens to live in Ullapool. The commutes from Ullapool to Assynt were simply breathtaking, and I was capitivated by the sight of Cul Mor, Suilven and Quinag during these car journeys.

Jan is predominantly a landscape textile artist, but she is also a paper and mosaic artist. However, most of the courses she offers on her website are textiles related, so it was lucky that I managed to sign up to her paper-making course, which seems to be less in demand (as we were told). Since there were only a few of us, we got to know each other quite well during the week.

The reason why I signed up for this course was due to my passion for paper and interest in plants/botany. I have previously attended one/two paper-making sessions that lasted less than an hour, so my knowledge was minimal and I wanted to learn more about the technique and craft. Besides, the thought of spending the week sourrounded by nature up in the Highlands was a huge draw for me.

Over the five days, we spent most of the time working outdoors as we were quite lucky with the weather (except for the last day and when the midges attacked). Being able to pick many fibrous plants and grass from Jan‘s wonderful garden and use them as the materials of our paper was fantastic. The process of paper-making involves soaking the plants overnight, followed by boiling the plants with soda ash (or washing soda) and water. Then it is necessary to break down the plant fibres into pulp using a blender, and we mixed the plant fibres with recycled paper pulp to create different textures and varieties.

The next stage requires a mould and deckle (you can make one using picture frame and mesh), a vat filled with water and a bit of pva glue. Then it is time to add the pulp mixture into the water and let it dissolve in the vat. What followes is the most difficult part – using the mould to scoop the pulp from the back and bottom upwards inside the vat. When the mould is lifted you, it is best to shake it from side to side to drain the water and even out the pulp. This process requires patience and steady hands for consistency, and it may take several attempts to get the pulp evenly rested on the mesh. Sometimes the paper may be too thick or too thin, and it differs depending on the plant fibres.

The final stage is to remove the deckle from the mould and place the pulp on the mesh safely onto a wet paper towel. Then you need to press the pulp down with a sponge, add another piece of paper towel on top and place a heavy wooden board on top to squeeze out any excess water. After some time, you can lift up the board and hang the paper to let it dry on a rack.

We used a variety of plants like nettles, horsetails, daffodils, montbretia, dock leaves, and grass as our pulp, and we also added some flower petals as decorations. Since the process of paper-making is the quite repetitive, Jan suggested that we try mono-printing with plants, as well as eco-printing by arranging the plants onto the paper followed by steaming it.

After four days of making and experimenting, we spent the last day compiling everything together into a large portfolio book showcasing all the papers we made, and binded it together with some strings. We also created two mini plant books each featuring some of our handmade paper.

The five days went exceedingly quickly, and I found the workshop extremely inspring and enriching. It was also lovely to enjoy the vegetarian lunches that Jan prepared for us daily using many ingredients from her vegetable garden.

On Wednesday, we crossed the road and visited the Elphin market where there were vendors selling food and craft produced by local farmers and artisans. I learned that many artists and artisans chose to live and work in the Highlands due to its remoteness and landscape and nature, which I have no dounts would make one more creative being in this environment.

It was sad to leave this place behind, but there was more adventure awaiting, so I left feeling quite joyous and refreshed.

Mino washi museum & Akari Art Gallery

Posted on September 27, 2018 by Toothpicker

One of places I wanted to visit in Mino was the Mino washi museum. Yet the museum is located about half an hour’s drive from the town centre, and there are no buses that could get me there. After enquiring at the tourist office (inside a washi paper stationery shop), the lady there told me that she could book a ‘shared taxi’ for me to pick me up and bring me back at the requested times. After lunch, I waited outside of the bank and a mini van showed up. To my surprise, this was the ‘shared taxi’ that was booked for me. This is a community shared taxi service called Noriai-Kun, and it reminded me of the Songthaews/ Red trucks in Thailand, but of course the Japanese version is more comfortable and safer. After the driver dropped off a few passengers, he drove along the river and I was able to enjoy the scenery outside of the window. When I arrived, I asked the driver about the cost, and I thought he indicated 1000 yen, but it turned out to be merely 100 yen!

Mino washi museum

The Mino washi museum is a modern building with several exhibition halls, paper-making workshop space, a shop and a cafe. Aside from learning about the history and the making of washi paper, visitors can also watch the demonstrations of paper-making and then try it out at the workshops. Due to limited time, I did not do the workshop, but I enjoyed seeing a temporary washi paper art exhibition that showcased works by local artists.

Mino washi paper products sold at the shop

In the town centre, a visit to the Mino Washi Akari Art Gallery is a must. From the outside of the building (a former Mino City Industrial Association Hall built in 1941) and even after I entered the building, I had no idea of what I was about to encounter. Yet as soon as I walked into the dark exhibition area upstairs, I was astonished by all the stunning washi paper lanterns on display.

Every year October, Mino City hosts an Akari Festival where washi paper lanterns are lit and displayed along the main Udatsu street at night, turning the town into a lantern wonderland. At the gallery, visitors can admire all the exquisite and delicate lanterns created by professional artists, students, and the prize winners of the lantern competition held annually at the festival.

I was completely blown away by what I saw. And I think the exhibition showcases not only the craftsmanship, creativity, dedication, but also great respect for the traditions by all the artisans.

2nd row right: winning work of 2010; Bottom two rows: Winning work of 2017

Echizen Washi Village

Posted on August 2, 2018 by Toothpicker

The JR Johana Line in Toyama and the poster for the Belles montagnes et mer sightseeing train

When foreign visitors think of Japanese railway, the first thing they think of is likely to be the sleek Bullet train/ Shinkansen. As much as I appreciate them, I have a particular soft spot for the slower retro 2-carriage local trains that go through small village stations. These trains and stations are old-school and delightful, and often carrying very few passengers. In Toyama prefecture, I took the JR Johana line which originally started in 1897 by the Chūetsu Railway, but now it is run by JR West. Although the journey was not long, it was lovely nonetheless, and it made me want to take more local train journeys around Japan in the future.

Top two rows: Shinkansen & ekiben for the journey; Bottom row: poster warning passengers not to text while walking at the train stations (we need them in every country!)

Another thing I love about rail travel in Japan is the amazing ekiben (station box lunch) that are sold at the train stations. Usually these lunch boxes consist of local produce and specialties that are unique to that region, and so every station would offer something different.

Even more surprising was when I encountered a contemporary craft gallery inside a train station… during my transit at the Takaoka station, I came across Monono-Fu Gallery, where they exhibit and sell exquisite crafts that are made locally. I even noticed the Honeycomb tin basket from our shop; it was good to be able to locate its origin in person. Aside from metal works, the region also produces wood products, washi paper goods and ceramics etc – it is a fantastic idea to promote the local crafts and perhaps more stations should follow suit.

Locally-made crafts are promoted and sold at the Monono-Fu Gallery inside the Takaoka train station

Although Mino is famous for its washi paper (due to its status as the UNESCO Intangible Cultural Heritage), it is Echizen in the Fukui Prefecture that has the highest production of washi paper in Japan. The history of washi paper-making in this region dates back to 1500 years ago, and currently there are 70 washi industries in Echizen, mostly family-run businesses, employing around 500 people in the Imadate area called Goka, which includes five villages of the town, Oizu, Iwamoto, Shinzaike, Sadatomo and Otaki. These villages have been producing Japanese paper since 6th century and constitute “Echizen Washi no Sato“. Every spring, there is a Kami festival in Washi-no-Sato that celebrates the paper goddess, Kawa-Kami Gozen and the two local gods at the Okamoto Otaki Shrine.

After learning about the Echizen washi village in Takefu (a small town which is part of the Echizen City), I went online to find out more and on how to reach it. However, I learnt that getting there is no easy task without a car, and I could not find any accommodation nearby either. Eventually I contacted Katz, a local photographer whose contact is on the official website and he kindly assisted me with the accommodation and travel itinerary.

A miserable day in Takefu

Aside from washi paper, Takefu is also known for its 700-year old knife-making industry and its knife village. I was rather unlucky when I arrived at Takefu, because the scheduled bus didn’t show up at the train station (the third time during my trip), and I had to contact Katz for assistance. Then it was raining cats and dogs by the time I reached the washi village and it didn’t stop until the next morning.

Unlike most of the cities/ towns I visited previously, I saw no foreign tourists, shops, cafes, restaurants nor pedestrians as I was walked towards the washi village. All I saw were residential houses, warehouses, factories and small agricultural fields – it felt very suburban. This town is unlike any towns that I have visited before, and it was quite a shock for me as I was expecting to see a charming town like Arimatsu or Mino. Yet this is the other side of Japan, a side that perhaps not many tourists get to see.

Paper & Culture Museum

There are several buildings in the Washi Village, and one of them is the Paper & Culture Museum. The museum displays ancient documents showing the history and origins of Echizen Japanese paper, but there is little English explanation (probably because there are few foreign visitors here). I think this museum is less interesting than the other two venues in the village, and I didn’t linger for too long. However, there is a washi paper library at the back that displays a variety of washi paper samples, which is worth seeing.

Washi paper-making workshop at the Papyrus House

At the Papyrus House, there is a paper souvenir shop and an area where visitors can try out some washi paper-making which lasts about 20 minutes. I decided to have a go at it and did manage to make a few pieces to bring home.

A washi paper and stationery shop in the washi village

Out of three venues, my favourite was the Udatsu Paper & Craft Museum. Unlike the two other new buildings, this museum is situated inside a former paper maker’s house from the Edo period (1748) , which was later dismantled and reconstructed on this site.

The most fascinating part of the museum is that visitors can watch the process of washi paper making by paper artisans using traditional tools. Unfortunately, I had missed the last session of the Japanese traditional papermaking workshop, but being the only visitor there, I was able to watch the artisan closely while she was working.

Udatsu Paper & Craft Museum

There is also an exhibition hall upstairs that showcase washi paper works from the region. I had a relaxing time here, and was especially grateful to the kind lady who gave me an umbrella to take away as it was chucking it down outside.

Udatsu Paper & Craft Museum

After the museums closed, I had to wait around for the heavy rain to ease slightly before walking back to the minshuku, which was fairly basic with few amenities ( not even wifi). I didn’t see other guests and I thought the place was not very clean, but since I was only there for one night, I just turned a blind eye to it. When I tried to locate restaurants nearby for dinner with google map, there were few and far between, hence I decided to wander around to see what I could find.

Eventually I found a soba restaurant that had a ‘closed’ sign hanging outside, even though it was supposed to be opened until 9pm. I walked up to the door to try my luck, and it turned out that the restaurant was indeed opened! The soba restaurant is run by an elderly couple, and aside from a young male customer, there was no one else around. I sat down and picked one a set meal from the Japanese menu, which I have to say was one of the best meals I have had throughout the trip. It was so simple, and yet so delicious. I thought the tempura was even better than the ones I had at the expensive Tenichi Ginza Honten with my friend in Tokyo a few years back. The homemade soba noodles tasted great, too. I thought it was ironic that I randomly walked into an almost empty restaurant in the suburbs and had a surprisingly satisfying meal. Perhaps the food tasted better because I was tired, cold and wet; or because i had no expectations. Anyway, that meal did make me feel happy at the end of a rather miserable day.

A heartwarming dinner was what I needed on a cold and rainy night

The next morning, I went to say goodbye to Katz, and he said he was hoping to take me to some washi paper studios in Echizen if I had spent more time there. I was grateful for his generosity but at the same time felt quite disappointed with my stay (I think the heavy rain didn’t help either). I am sure that one day was not enough, and there must be many interesting washi paper studios in the area that are worth visiting. Since this area is not a touristy region, it probably requires more research and planning beforehand, so perhaps it does deserve a second visit in the future.

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Burmese crafts: papier mâché , lacquerware & pottery

Posted on April 5, 2017 by Toothpicker

Stumbled upon a papier mâché maker’s home in New Bagan

Before my trip to Myanmar, I had no idea that a myriad of traditional crafts are being produced in different parts of the country. Apparently, every region uses local materials to produce in a specific craft that is unique to that area; hence, every region has its own a niche market (a good idea to employ in our increasingly homogeneous Western society).

Our first stop was Bagan, and the most unexpected surprise happened when we stumbled upon a papier mâché maker’s house near our hotel. My travel companion spotted the back of a life-sized papier mâché in the courtyard of the craftsman’s house, which evoked our curiosity… eventually the craftsman noticed us (two suspicious tourists peeking outside his house) and invited us in. Although the craftsman spoke little English, he was keen to show us his fantastic creations. He even climbed into the life-sized papier mâché to show us the interior of it. He told us that these papier mâchés are being employed at Buddhist festivals like Thingyan (Burmese New Year Festival), where other papier mâché toys and masks are being sold.

Small lacquer jars made by a local artisan in New Bagan

Bagan is the official home of lacquerware in Myanmar, so lacquerware can be seen in shops around the Bagan area. After our stop at the papier mâché maker’s house, we met one of his neighbour, who is a lacquerware artisan and she creates tiny lacquer jars and napkin rings at her house.

Since the small village is away from the touristy area, the villagers were all very friendly and hospitable. It was particularly encouraging to see different craftsmen living side by side and working for themselves rather than in a factory setting.

A lacquerware workshop in Bagan

Two days later, we were taken to a lacquerware workshop in Bagan (as part of our tour), where we observed different artisans working on larger and finer pieces catered for tourists.

Although originated from China, Bagan has been producing lacquerware since the 12th/13th century. The sap used in lacquerware is called Thit-si (which means wood varnish) is collected from Melanorrhoea usitata, a tree native to South East Asia. The base of the lacquer vessels are usually made of coiled or woven bamboo strips mixed with horsehair, and later the surface is painted on the inside and outside with lacquer at least eight to sixteen different layers, then stored in a dry cellar. Since it may take a skilled craftsman six months or up to one year to produce high quality lacquerware, hence the prices of these crafts can come with hefty price tags.

A village pottery maker outside of Mandalay

Unlike lacquerware, pottery is being produced in several areas of the country. And one of them is Nwe Nyein village near Kyauk Myaung, a riverside town along the Ayeyarwady River. Since the clay near Kyauk Myaung produces high quality pottery, therefore the area is known for its 50-gallon glazed jars. Most jars are exported, while others are primarily used for water storage. These water jars can often be seen in the streets or at Buddhist temples providing water for travelers or monks.

Although we didn’t visit this village, we did visit a village outside of Mandalay where we saw some local pottery makers producing pottery (and drying chilies) at their houses.

Top & 2nd rows: Terracotta water jars; 3rd row: Pottery shop in Bagan; Last row: miniature pottery kits for children

To be continued…

Mino washi from Gifu exhibition

Posted on November 15, 2015 by Toothpicker

Mino washi paper exhibition at The Proud Archivist

I have been wanting to visit Mino in Gifu Prefecture in Central Japan for a while. My motive is to do with none other than paper, as Mino is renowned for traditional Japanese paper making.

The origin of Mino washi can be traced back to the Nara period in 8th century; and in 2014, these paper making techniques were added to UNESCO’s Intangible Cultural Heritage list.

Unsurprisingly, I was quite thrilled when I found out about the ‘Mino Washi from Gifu’ exhibition at The Proud Archivist. The exhibition showcased some of the finest contemporary uses of Mino washi paper, whilst exploring the tradition and craft of this classic Japanese material.

Paper lanterns were the prime focus at this small but well-curated exhibition. The centre of the room was filled with an array of delicate and beautiful washi lanterns in various shapes and sizes, including works by well-known Japanese designers Isamu Noguchi and Shigeru Uchida.

Aside from lanterns, the exhibition also displayed traditional paper making tools, mulberry bark, miniature paper sculptures of the washi making processes, and a film footage on the topic. Visitors could also purchase paper products sold by Wagumi, a London-based shop that specialises in Japanese design products.

I had the opportunity to speak to Yoko from Wagumi, who kindly provided me more information on Mino and other paper-making cities in Japan. Our chat has given more incentive to visit the city when I next travel to Japan, and hopefully, it will be within the next two years!

Cross Cultural Live Art Project 2014

Posted on November 12, 2014 by Toothpicker

Top: Haggerston; Bottom: Hanqing Miao’s performance

I used to spend much my time hanging out at the ICA, yet since summer, I have been frequently visiting another new arts/cultural space, The Proud Archivist in Haggerston (an area where I was not familiar with before). I have never eaten in the restaurant downstairs, but I have attended different events in its upper gallery space related to arts, coffee and business. The space seems to be a popular venue for events hiring.

Over a week ago, I attended the “Cross-Cultural Live Art Project” led by an independent curator-partnership, Something Human as part of the SEA (Southeast Asian) ArtsFest 2014. The event brought together Southeast Asian and UK/European artists for a 2-day symposium, showcasing performances, talks and a screening programme exploring gendered/feminist notions of “rites”.

I arrived in the afternoon during a panel discussion on ‘Curating live aer in public spaces in UK and Asia’. It was interesting to hear the curators sharing their experiences and obstacles they faced in curating live art in Asia due to cultural differences. The discussion was followed by three live art performances by young Southeast Asian and British practitioners.

Top left: Hanqing + Megan; Top Middle & 2nd row: Kelvin Atmadibrata’s ‘Yaranaika’; Top right and bottom: Jonathan Coleman’s ‘How to be a man’

The first act, “Hanqing + Megan: The Calligrapher” was performed by London-based Singaporean artist Hanqing Miao on the issue of identity, roots, culture and on being a foreigner living in London. The second act was Indonesian artist Kelvin Atmadibrata‘s “Yaranaika“ on Japanese pop culture, masculinity, sexuality and cultural identification ( a lot of dancing with leeks as props). And the final act was “How to be a man” created and performed by British artist Jonathan Coleman exploring the changing image and role of men today.

During the break, I met a Brazilian performance artist who moved to London 6 months ago, and we had a stimulating conversation on feminism, gender issues and the problems facing Brazil at the moment ( serious topics for an initial conversation)!

Top left: Hattie Newman; Top right: New York-based Japanese artist Mayuko Fujino; 2nd row: Work by London-based Shotopop; Bottom left: Marc Hagan-Guirey‘s Horrogami

I was also lucky to catch the Paper Cut exhibition before it ended on the next day. The exhibition showcased paper cut work by 25 paper craft artists from around the world. It is rare to find exhibitions focusing solely on paper crafts, so it was an unique opportunity to see some stunning paper craft display. There are regular art and design-related exhibitions being exhibited at the gallery space, so check out the website or sign up to their newsletters to find out more.

The Proud Archivist – 2-10 Hertford Road, London N1 5ET.

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