ANDO Saeko vietnamese son mai - lacquer painting
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Son Mai
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Seeing the nature through lacquer-glazed eyes...
The Art of Lacquer is called '“Son Mai'” in Vietnamese language. “'Son'” means “Lacquer” and “ 'Mai'” means “Sanding” respectively. In art of son mai, artists use sanding process not only to acquire smooth surface but to create very dramatic effects on their art works. They apply complex layers of lacquer with different colour and texture, using variety of materials such as gold, silver, egg shell, river shell… Then it is sanded flat to bring the underlining layers back to the surface just as stratums of earth. Since 1995 Saeko has devoted herself to the preservation and promotion of this unique art of “son mai”. She has persevered in this use of natural lacquer, which has become distinctly rarer in recent times in the face of competition from artificial lacquer, ensuring the maintenance of this ancient craft in the modern era. In the process she has been boldly merging Vietnamese and Japanese lacquer techniques, integrating tradition with innovation. Her eccentric style is now widely respected within the Vietnam’s Art Society and she was given the honour of being accepted as the first foreign member of the Hanoi Art Association in 2000.
Bio
Artist Training
Exhibitions
Accomplishments
Artist Training
Artist Training
Graduated from Waseda University in Tokyo, studied Japanese art and philosophy. Final thesis on Japonism movement in European arts and crafts (1992)Studied modern Vietnamese lacquer painting under the tutelage of Trinh Tuan (1996~1997)Studied traditional Vietnamese lacquer craftsmanship and painting techniques under the tutelage of Doan Chi Trung (1998~1999) and Nguyen Huy Hoan (1999~2004)Studied traditional Vietnamese lacquer “Voc” base making under the tutelage of Lam Huu Chinh (2007~2010)
Exhibitions
Exhibitions
SOLO EXHIBITIONS1998 “'Heads or Tails”' at Café Des Art, Hanoi,Vietnam1999 “'SsssshhhhH!”' at hotel Nikko Hanoi, Hanoi.Vietnam2000 “'Chao Dong Chi”-meet my friends-' at Mayfair Apartments, Hanoi,Vietnam“'Thoat Xac!” -moulting- 'at Indochine park Tower, Ho Chi Minh City,Vietnam2001 '“Etsunan Yume Monogatari” -Vietnam Tale-' at Gallery Shimada(Kobe), Kissho-Do Gallery(Kyoto), and Tokyu Hotel(Nagoya), JapanGROUP EXHIBITIONS1997 “'Three foreign female artists'” at the Center for Exhibition and Artistic Exchange, Hanoi ,Vietnam1999 '“Exhibition of Vietnamese lacquer painting” at Fujita Vente, Tokyo,Japan 2000 ' “-990th anniversary Hanoi- Hanoi Metropolitan Exhibition' ”at Trang Tien Exhibition center, Hanoi,Vietnam2005 Cay Son Gallery opening event, “'Texture of Life”', Hanoi, Vietnam2006 '“The World of Vietnamese Son Mai Art'” in Kyoto, Tokyo and Sapporo, Japan2009 'Ishikawa International Urushi Exhibition' Kanazawa, Japan 2011 '‘Women, Art, Hanoi’' at Maison des Arts, Hanoi, Vietnam'Open Lacquer’ exhibition' as a part of 'Here, There and Everywhere' project by Trans Cultural Exchange, at Hampden Gallery, Massachusetts, America-Female Urushi Artists’ Solidarity with the people of Tohoku- at Aizu Urushi Art Festival, Aizu, Japan
Accomplishments
Professional Accomplishments
TEACHING EXPERIENCESLacquer Painting classes at Cay Son Gallery (2004~2006)Vocational guidance at Vi Ngay Mai centre for the handicapped (2007)Lacquer painting classes at UZU Gallery (2008~present)Lectures on art of lacquer : Gallery Shimada (Kobe, Japan/2001), Cay Son Gallery (Hanoi/2005), United Nation International School(Hanoi 2005) and UZU Gallery (2008)United Nation International School Community Education program on Lacquer and Lacquer paintings (2009,2010.2011)RESEARCHESResearch on lacquer plantation and production in Phu Tho Province, in Vietnam.Research on lacquer handicraft production and Mother of pearl inlay techniques in Ha Tay., VietnamResearch on lacquer processing in Vietnam..Research on lacquer processing in Japan.MISCELLANEOUSDesign contract with The Lacquer Factory Ltd. The first foreign member of Hanoi Art AssociationCollection at Vietnam National Art Museum and Sapporo Miyanomori MuseumJuror at Golden V 2008, Vietnam Handicraft design competition organized by VCCI
Gallery
poker face
inorganic blossom
moth green
sorceror
Peek-a-Boo
His Holiness
coral moon
Eggs
the vein
flame tree
Reproduction
Naga
poker face
inorganic blossom
moth green
sorceror
Peek-a-Boo
His Holiness
coral moon
Eggs
the vein
flame tree
Reproduction
Naga
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Son Mai
Natural lacquer
History
Techniques
Vietnamese Natural Lacquer is produced mostly in mountains of Phu Tho province, which located North West from Hanoi. The climate which never goes down 12 degree C even in winter, and the red soil in this region are said to be the ideal condition for Lacquer plantation. The element of Vietnamese lacquer which gives itself a beautiful glow, durability and cohesiveness is called Laccol, while respective element in Japanese lacquer is called Urushiol. The lacquer trees in these two countries are two different spices. Japan imports Vietnamese raw lacquer in small scale but it is considered as low quality lacquer which gives poor glow and dries too slowly. However, these problems only arise to Japanese craftsmen who work under less humid atmosphere. To be precise, lacquer does not dry but it hardens by chemical reaction with moisture in the air. Therefore, significantly humid climate in Northern Vietnam is ideal for Vietnamese lacquer. If craftsmen use Japanese lacquer in Vietnam, it will dry too fast for them to work with. The inferiority of glow derives from the fact that Vietnamese lacquer contains less magic element described above and it contains more gum. As a matter of fact, this is also a great advantage for Lacquer Painting technique. The gummy substance helps lacquer to stay soft enough for artists to sand complex layers smoothly. The enzyme within lacquer continues to cause chemical reaction with the help of gummy substance even after artists finished their work. Therefore, clarity, glow and hardness of painting enhances as time passes. As you can see, Vietnamese Natural lacquer is mysterious material which breathes just like us and it ages just like quality wine.
In 1925, Ecole des Beaux Art d'Indochine (the Indo-China art school / Truong My Thuat Dong Duong) was established in Hanoi. In this school, the indigenous material, lacquer, which had been only used in handicrafts before, was introduced into Fine Art. . Young painters and their teachers in this school tackled with new material and started the use of various colors in addition to the traditional colors of Son Mai with western realism.
In the process of son mai, the lacquer is applied in layers of different colour and texture with varying thickness using variety of materials such as gold, silver, egg shell, river shell…. Through sanding it is possible to bring underlying layers back to the surface. The artist must thus control the thickness of lacquer in order to create the desired colour and texture . After the painting and sanding is complete begins the lengthy process of polishing. The surface is polished firstly with human hair and then with the fingers or palm of the hand, using a low abrasive powdered charcoal.Natural lacquer is a living material and hardens through a chemical reaction with humidity. A natural lacquer artist’s work is restricted by climate as only humid conditions with certain temperature enable rapid hardening of the substance. During the dry season an artist may have to wait a few days for this process. However, if the lacquer is caught by the dryness then hardening could become impossible. Only by understanding humidity and the condition of the lacquer can the artist gauge the outcome. Timing is crucial to the whole process:Colour may initially be concentrated at the surface. But will become brighter, purer and more true with time – one of the joys of natural lacquer. This is in contrast to artificial lacquer which produces instantly bright colours but lacks depth.
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