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a dive into the storied Akari series you see all over the place - would def recommend if you are able to visit. Hope to acquire one of the larger sculptures next time I go 🤞🏾 @noguchimuseum @ozeki.tokyo 🛋️ if you’re looking to snag one @
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#loftapartment #interiordesign #noguchi #akarilamp #tokyo #japan
Transcript
Officially lamp season, and let me tell you about one of my favorites. If you weren't looking, you'd miss it, but I was on a mission. Tucked away into this Tokyo cityscape was a dream destination of mine as big light's biggest better. A gallery curated with the works of OG ambient appreciators, Asama Noguchi and Jisichi Ozeki. You've probably seen some of the works, but here are a few. And you're probably wondering why are they so expensive. Let me drop the lore. The paper lantern is ancient, but we're specifically gonna talk about the practice best in Gifu, Japan, an area known for its high quality washi and bamboo for centuries. Enter Jitsuchi Ozeki, who began selling paper lanterns from Gifu around tier. True Gifu paper lantern crafting requires wrapping techniques, brushing techniques, and sometimes intricate designs. And imagine how hard that is to scale. But Teseshi Ozeki was that dude. Now people say imitation is the highest form of flattery, but it often comes with the demise of quality. Replicas of the Gifu paper lantern began popping up around the worse, creating turmoil in the sector for Gifu. But Ozeki weathered the storm rank the business was passed down through the family. Tier skip. Enter sculpture savant and world renowned artist, Isamu Noguchi, who found himself strolling in Gifu in the nineteen fifties. While he was there, he ended up being invited by the mayor to revitalize the lackluster lantern scene. Known for pushing materials to their max in sculpture, Noguchi challenged the notion of light creating unfamiliar forms and flows against the traditional Gifu lantern. With the revitalizing product of the land on the line, Noguchi bad only one option to manufacture his ideas, the Ozeki camp. Ozeki ended up spearheading the molds and other manufacturing elements, and Noguchi's Akari series came to be. Light and sight and touch, a seemingly endless amount of variant. Sharp, curvy, smooth, jagged giant. No form was out of bounds. And the Ozeki camp made it happen time after time. And this is mine. Straight from the Ozeki gallery where I spent way too much time. And I love it because it reminds me of the symbiotic nature of creator and constructor. A legacy of collaboration still alive today. Long live the Anti Big Light Lobbyists Association.