The workbench in Azusa Fukushima’s studio in rural Ibaraki, north-east of Tokyo, is her own invention, proportioned exactly so that thread can be pulled taut against her own weight. Cotton – dyed with natural Japanese indigo, persimmon, or madder – is bound around stalks of dried sorghum grass. With each stitch, the bundle finds its shape: a classic “clam”, or hamaguri-gata, which echoes a spray of sorghum. The result is an object of natural and utilitarian beauty, appreciated by a growing community of makers and buyers from east London to LA.
在福島梓(Azusa Fukushima)位於東京東北部茨城農村的工作室裏，其比例精確到可以在她自己的體重下將線拉緊。用天然日本靛藍、柿子或茜草染色的棉花綁在幹高粱草的莖稈上。每一針，布包都找到了它的形狀：一個經典的「蛤蜊」，或蜆子，與高粱的波紋相呼應。其成果是一件自然而實用的藝術品，受到從東倫敦到洛杉磯越來越多的創作者和買家的喜愛。
您已閱讀9%（717字），剩餘91%（6888字）包含更多重要資訊，訂閱以繼續探索完整內容，並享受更多專屬服務。