Ceramic Review Masterclass: Iku Nishikawa
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- čas přidán 24. 04. 2023
- Are you interested in learning how to mend broken ceramics?
Our Masterclass for Issue 321 features the Japanese potter Iku Nishikawa.
She shares the processes she uses for repairing broken ceramics using yobitsugi, incorporating the techniques of easy kintsugi (kan-i kintsugi).
Here are the steps Iku follows to mend a broken ceramic piece:
1. Sand any sharp parts of the broken edges of your chosen item with fine sandpaper. Sand all the edges evenly, otherwise it will be noticeable later into the repair.
2. Mix the epoxy glue following the manufacturer’s instructions of the particular variety of glue you are using.
3. Apply a thin layer of glue on the exposed broken sections using a wooden spatula.
4. Then stick the pieces together. When you find the position where the pieces align and fit, squeeze out any excess glue by pushing gently and hold until the glue has set. Do not remove the excess glue just yet.
5. Once the glue has set, mark out the shape of any missing areas onto a piece of glass. I am using stained glass in this process but you can use ceramic, sea glass, wood, etc.
6. Cut out the piece of stained glass using a tile nipper.
7. Mix the epoxy glue again and apply it to the exposed edges of the piece of stained glass. Place the piece into the gap and hold firmly until it is stuck.
8. Once the piece of stained glass has stuck and the glue has hardened, you can now remove the excess glue with a sharp knife. Gently scrape off all the glue that is visible on the surface, then dig the knife into the grooves of the joins to remove any excess.
9. Clean the surface with alcohol such as acetone, but be careful not to use in excess as it can weaken the glue.
10. Mix the epoxy putty thoroughly following the manufacturer’s instructions.
11. Using a wooden spatula, fill the gaps in between all
the joins with the epoxy putty then smooth the surface.
I use water to help with this process, but do not use water excessively as it can stop the putty from hardening.
12. Clean off any excess putty.
13. When the putty has set, sand the surface until it is smooth and retouch with extra putty if necessary.
14. Prepare your base urushi. If it is too thick, mix it with turpentine using a spatula. The thickness of the urushi depends on how comfortable you are with the material, but it is easier to handle when it is thin. I am using black urushi as a base so you can see the contrast when I apply the second layer. Bengala (dark red) urushi can also be used for the base layer as they are the same, the only difference is the type of pigments used in the mix.
15. Using a fine brush, fill the grooves and seal the putty with the urushi. If you want a smoother surface, repeat the application at least three times, leaving 24 hours between each application.
16. Place the item in a humid box and leave it to set for about 24 hours. To create a humid box (muro) you also need to include a cup of water. Urushi needs about 80-85% humidity at 25°C to set, but this also depends on the condition of the urushi you are using.
17. After the base layer has set, prepare the bengala urushi in the same way as the black version earlier.
18. Paint over the black urushi with the final bengala layer. To enhance the colour of the metal powders used later, I usually use bengala urushi under gold and brass powder, and black urushi under silver.
19. Place the item in the humid box again for 15 to 30 minutes if you are using brass, or 30 to 60 minutes for silver and gold. The exact timings depend on the thickness of the urushi you are using and the conditions in the humid box. A test piece is recommended for precious metal powders. When the surface of the urushi is half set, you are ready to apply the metal powder.
20. Open the metal powder package and place a paper weight on the wrapping. Using a soft dusting brush, called a ke-bou, gather a small amount of powder on the brush, then sprinkle it over the urushi joins by gently tapping the brush. Please do not touch the urushi at this point. If you apply the metal powder too early, it will sink into the urushi, if it is too late, it will not stick well. There is no way to check these timings, you know when the time is right through experience.
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Videography by Layton Thompson
I love this art form, I see it as a metaphor for people being broken and being put back together fragmented but whole and beautiful.
Such an amazing thing to get an insight to the process of this master!
Just Beautiful!
This was very well done. Thank you
What is the red and black colour?
Maravilhoso!
Love it
more expensive and better than the unbroken
いいね〜