For Osumi Yukie, the Freer|Sackler’s first artist-in-residence in Japanese metalware design, metalwork is more than an art or a craft—it’s a way of life. She’s been working with metal since the early 1960s. A master of inlay decoration, Osumi transforms silver into objects that are both functional and beautiful. Each piece, including those in Wind and Waves—on view in the Sackler through November 15—can take upward of four months to create, from inspiration to early sketch to finished work.
In her hands, metal becomes imbued with a kind of emotion. She takes a flat sheet of silver and lets it reveal its own story, akin to the way Michelangelo tried to bring the “sculpture” out of the stone. When we had the chance to speak last week (with the help of a translator), Osumi told me, “Metal isn’t a cold or hard thing. It is warmed by my own body temperature and becomes soft and comfortable.” Part of what makes the object special is the way it is used. “People who use my pieces will understand that through usage, the work really does become more beautiful. They enjoy the spirit that is behind the piece as well as its function,” she explained.
In July, Osumi was designated a Living National Treasure of Japan, making her the first woman to receive this recognition for metalwork. She holds a degree from the Tokyo University of the Arts and also studied in the United Kingdom.
On Sunday, October 18, from 2–4 pm on Sackler sublevel one, join us for Osumi Yukie’s talk, “A Changing Craft: Japanese Metalwork.” Through words and images, she’ll tell us more about her work, the influence of teachers, and her role today in encouraging a broader appreciation of the art of metalwork.
For more Japanese art, save the date to see Sōtatsu: Making Waves, which opens at the Sackler on October 24. A celebration of the life and work of Tawaraya Sōtatsu—one of the most influential yet elusive figures in the history of Japanese visual culture—the exhibition is the first outside Japan to tell his story.