JUNKAN Museum

“JUNKAN”: A Creator’s Vision.
Exploring “JUNKAN” through Varied Perspectives, Ideas, and Expressions.

Artist

Shoji Morinaga

5/11

A photo from the art exhibition. A piece of artwork—a stool—sits in the corner of the gallery. Bumpy on the sides, the wooden stool’s shape takes advantage of the natural branching of the original tree. In the foreground, bowls and other items are visible on a display table.
A photo taken at an oblique angle showing Morinaga with one of his pieces in his hands.
A photo from the art exhibition. Wooden art pieces are lined up on display tables. A variety of pieces are on display, such as large pieces reminiscent of vases and pots as well as pieces featuring smooth depressions. Several pieces hang on the walls like paintings.
A close-up photo of a piece. The wooden surface has cracks and discolorations in some areas.
A photo of Morinaga sitting on his own stool in a corner of the gallery where his exhibition is on display.
A photo taken from behind showing Morinaga with one of his pieces in his hands. The piece he holds is shaped like a pot or a vase, narrowing in the middle before widening greatly at the opening at the top. The design includes tree bark intentionally left on the lip of the opening.

Guided by the Uniqueness of Wood and the Cycle of Life

I currently work as a woodturner, operating out of my studio in Hioki City, Kagoshima Prefecture. 
My craft ranges from creating vessels and sculptures to stools, using a technique known as woodturning. This involves carving raw wood with a chainsaw while it's spinning on a lathe. After carving, the wood dries, losing moisture and naturally warping, which gives each piece a unique character.

These particular works were made for my solo exhibition at SISON GALLERy in Daikanyama, Tokyo. Reflecting on my previous creations, I’m focused on enhancing the quality of each piece with my current skill set. Even if some of the shapes are similar, I aim to ensure they still stand apart from my earlier works.
Interestingly, I’ve never sourced the wood for my creations from a regular lumber market. Instead, I purchase scrap wood from factories where it would otherwise be used as fuel. I also buy logs directly from contractors, known as yamashi, who cut down and sell standing trees. When I work with large logs, I often encounter unexpected insect holes or discoloration caused by microbial activity. These natural features are not imperfections but signs of the tree’s life. No two logs are the same, and that’s what makes the process so captivating.

I strive to minimize waste in my work. Local farmers take the wood chips from my workshop to use as compost in their fields. This wasn’t something I set out to do consciously, but over time, a natural cycle of reuse emerged. Occasionally, I even repurpose old tabletops as material. It feels like a full circle—made by old craftsmen, used by customers, and returned to me for a new life in a different form.

My work is deeply intertwined with forestry. When trees are cut down, new seedlings must be planted to ensure the next generation thrives. When I think about the trees that have grown from seedlings over decades, I’m reminded of the incredibly long cycles that nature follows.

Filming Cooperation: SISON GALLERy
Photo: Keita Tamamori

Photo of Shoji Morinaga
Woodturner

Shoji Morinaga

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