Masatake Shimizu (清水 将勇) / Japonica
Self-Introduction
I happened to discover how beautiful Sugi (Japanese cedar) becomes when dyed with plant-based colors. Since then, I’ve been devoted to this new approach to craft with both conviction and a sense of responsibility.
I source my Sugi from Kanbayashi Sawmill, a local mill known for its traditional practices—tree planting, logging, milling, and natural drying. One of the younger foresters there sometimes sets aside logs specifically for me, saying, “This one’s for Shimizu-san.” I’m truly grateful. Kanbayashi Sawmill is an irreplaceable partner for Japonica.
Here’s a story that reflects my deep commitment to Sugi. During my rigorous apprenticeship, I kept making mistakes and eventually became afraid to even cut into valuable wood. At that time, I was given work using Sugi, and I was deeply comforted by the feel of its surface and its color. It saved me. That was when I came to love Sugi, and I’ve stuck with it ever since.
Even now, Sugi continues to soothe us with its texture and color, especially when combined with plant-based dyes. I hope I can share a bit of that feeling with all of you.
Biography
| 1975 | Born in Chiba Prefecture |
| 1999 | Graduated from the Faculty of Engineering, Tokyo University of Agriculture and Technology |
| 2000 | Apprenticed under wood and urushi artisan Toru Tsuji |
| 2013 | Established a workshop in Ishioka, Ibaraki Prefecture Selected for the 2013 Ibaraki Design Selection (Plant-Dyed Furniture) |
| 2015 | Selected for the 2015 Ibaraki Design Selection (Sugi Plant-Dyed Cup) |
| 2017 | Governor’s Prize, Ibaraki Design Selection 2017 (Sugi Soba Choko (Cup)) |
| 2018 | Represented Ibaraki in the LEXUS Takumi Project 2018 |
| 2023 | Selected for the 2023 Ibaraki Design Selection (Sugi Coasters) |
| 2019 - Annual | Isetan Shinjuku Store: Wooden Tableware by Two Artisans, Toshihiro Mori and Masatake Shimizu |
| 2020 - Biennial | Solo exhibitions at Mito Keisei Department Store Art Gallery |
Introduction from the Shop Owner
I first met Shimizu-san in the summer of 2016, at a gallery called “Madobe.” It was located near “Chidori,” a well-known restaurant in Hitachinaka, Ibaraki, and both were run by Miyuki Kurosawa-san. An exhibition was held there, bringing together the work of eight woodworkers, including Mori-san and Nakatsuka-san, who were already my friends. Shimizu-san was the one leading the event. I still vividly remember the rich atmosphere: the scene of the artisans gathered around Miyuki-san, chatting and smiling, and the way my whole body tingled as I walked through the space—from the gallery’s street-facing entrance to the back door.
Shimizu-san’s work was displayed beside the glass doors at the very back. The unique atmosphere of his Sugi pieces—dyed and finished in his signature way—completely drew me in. They felt like artifacts from a distant land or a forgotten era, and I found them a little intimidating to approach at first.
So the first piece I bought from him was this plate in the photo—one that barely hints at any dyeing at all (laughs).
Eight years have passed since then, and when I decided to open my own shop, one thing I absolutely wanted to carry was Shimizu-san’s Sugi coasters.
I don’t know anyone else who has explored the possibilities of Sugi and dyeing with such dedication and persistence. I believe these coasters represent one culmination of that commitment. His uzukuri soba choko, his hatsuri sake cups, and these coasters—these are where the true value of Sugi really shines. And perhaps even these are just another step in his ongoing journey.
Please take a moment to experience the character and beauty of Sugi, a tree native only to Japan.
