installation view, Museum Kranenburgh, Bergen, 2024   (photo: Choreo)

Homage to Japanese Lacquer is Harmen Brethouwer’s artistic investigation of urushi. Derived from the sap of the lacquer tree, urushi is a uniquely demanding medium in art, requiring precise application and careful curing. Brethouwer treats the medium itself as the primary subject, allowing its material properties and possibilities to guide the work. The project unfolds in ongoing collaboration with Japanese lacquer masters, a seamless dialogue between conceptual artist and artisan, negotiating each step to balance vision with tradition. The results are presented on square panels, the humble and consistent format providing a formal stage for each nuance of the lacquer.

from left to right: Scratching Lacquer, Monokurômu  (photo: Aad Hoogendoorn)

Routine Investigation, 2019 - 2020, Japanese lacquer on panel, stainless-steel peg, 70 x 70 cm, with Sergej Kirilov

from left to right: Black vs Black, Salangan  (photo: Aad Hoogendoorn)

Structural Colour, 2023, Japanese lacquer and mother-of-pearl on panel, stainless-steel peg, 45 x 45 cm, with Sergej Kirilov

Borrowed Scenery, 2020, Japanese lacquer on panel, stainless-steel peg, 60 x 60 cm, with Sergej Kirilov, private collection

from left to right: Broken White, Broken White 2, Field  (photo: Choreo)

Emu - reverse crush 2, 2015, Japanese lacquer and eggshell on panel, stainless-steel peg, 65 x 65 cm, with Sergej Kirilov, private collection

Negoro in Winter  (photo: Aad Hoogendoorn)

from left to right: Teadust, Robin's Egg, Antibacterial Monochrome  (photo: Choreo)

Dusty Yellow, 2014 - 2018, Japanese lacquer on panel, stainless-steel peg, 55 x 55 cm, with Sergej Kirilov

The Resident Colour,  2011, Japanese lacquer on panel, stainless steel peg, 50 x 50 cm, with Mariko Nishide, private collection