Akita Kawatsuraya is a lacquerware production area with 800 years of history. Hiroki Settsu, the third generation of his family to work in lacquer crafts, is particular about consistent handcrafting from the base to the finish in the pursuit of true color and luster in an industry where division of labor is the norm. He has won numerous awards since winning the Minister of Economy, Trade and Industry Award at the 2008 National Lacquerware Exhibition.
We spoke to Settsu, whose activities extend beyond the local area of Kaware, about his journey so far and the challenges he faces going forward.
He trained in a different place than his father. After his time in Wajima, he became independent in Kanazawa. 
-- Artist Interview --
When you take over a family business, you have a bright future ahead of you, but at the same time, there is a pressure that only you can understand. Please tell us about your path before taking over the family business.
"I'm the third generation to be born, and ever since I was little I had a vague feeling that I had to take over the business.
I wanted to surpass my father, so I chose Wajima instead of Aizu-Wakamatsu, where my father trained. After graduating from high school, I enrolled in the beginners' course at the Ishikawa Prefectural Wajima City Lacquer Art Technical Training Center in Wajima. There were 10 of us in my class, including some who had graduated from art school and were aiming to become lacquer artists, so I was inspired by the diverse group of people.
After moving on to the specialized course in my third year, I studied under lacquer artist Shota Teranishi and learned various things about craftsmanship. It was a great learning experience for me to learn from Teranishi, who is quiet and more like an artist.
After five years, I moved to Kanazawa and became independent. Finding work from scratch in a place where I don't know anyone is the same as doing sales. I learned first-hand how to acquire customers. I think I also improved my ability to respond to requests other than just making things."
What did you gain from your time in Kanazawa?
"I learned Kaga Maki-e and Kanazawa Butsudan Maki-e. I had decided that I would return to my hometown when I turned 30 , so I returned to Yuzawa in 1999 and became a third-generation Maki-e artist."
Returning to his hometown and holding a group exhibition was the catalyst for his breakthrough
Since returning to my hometown, I have formed a youth group and am currently active in this field.
"I took over the family business, so I had clients from my predecessor, but I couldn't see a bright future, so I started making my own pieces, doing everything from design to finishing.
Providing a venue for exhibiting also helps to attract customers, so together with like-minded friends, "I formed the 'Five Urushi People' and held group exhibitions in various places, including Akita, Sendai, and Tokyo. The members have changed since, but the group exhibitions are still ongoing."
Has anything changed since you started working with a group of like-minded people?
"I realized that it was completely different from the previous process of making maki-e ware based on orders from craftsmen. By creating and presenting my own original works, I had the opportunity to talk directly with customers, and I began to notice things from the user's perspective.
We have found that the aesthetics and preferences of the maker can be combined with what the customer wants, and in some cases the customer has had a big influence, with the product being created based on their feedback.
On the other hand, when I make fine adjustments to meet the customer's requests, I worry that the originality of my own style will be lost, that it will become diluted, and I struggle and search for a solution.
But that doesn't mean that we're unsteady and unstable; it just means that we periodically go through periods of conflict and searching."
True color and luster come from collaboration between maker and user
You have stated your goal of pursuing true color and luster, but what is the color and luster that you are aiming for?
"The base of lacquerware is wood. It is important to know how much lacquer is absorbed into the wood and how thoroughly it is applied. The user can only see the surface, but the maker thoroughly applies the lacquer to the invisible parts and finally polishes it with his or her own hands to create the lustre of the lacquerware.
Color and luster are living things, and they come about over the years. Therefore, it is not just the maker, but the user who works together to create the color and luster.
With years of use, lacquer develops a natural, soft luster. This is a luster that is nurtured by our customers.
It's hard to convey the essence through photographs, so when we show it to customers who have actually come to the exhibition, they say, 'I see!' and are impressed when they learn how the color and luster can be developed."
The color and luster of a product are created not only by the maker but also by the user. That's a good phrase. By the way, are you doing anything to address the issue of successors?
"I think it's important to have an environment where people can see that if they work hard, an answer is waiting for them. If people can imagine themselves doing a rewarding job and living a normal life, then people who want to do it will naturally gather, and the issue of successors will be solved.
To achieve this, I think it is important that I first create a model that will show that the future is bright for craftspeople."
What are the challenges ahead?
"Since last year, the number of custom orders has increased. I'm also receiving requests for solo exhibitions, which is great, but I wonder if I'll have the time to create the pieces. I'm very motivated, but it's a race against time.
I also want to express more of my own individuality and originality, both visible and invisible."
( TEXT : Natsume Kaoru)