Found Object

June 26, 2008

Found Object, June 2008; W 21″ x D 12″ x H 5″; Stone, Walnut with stain

This is a stone we found by searching through a big bin in the yard of a rock shop near Eureka.   We found several tamari (water pool stones) with good color and shape. Mas originally planned to finish this stone in a very simple suiseki style with a wooden daiza.  One side shows beautiful color, and he chose it as the front.  About a year ago he made a rough model for the base, but had not completed the woodwork.


Original Front

Original Back

Then, a few weeks ago, a friend told us about a mill up in Santa Rosa that sells pieces of hardwood as scrap.  When we went there we discovered a mountain of solid walnut slabs. Searching through the pile was like stone-collecting on the river – from among the thousands of pieces we selected a few.

After we got home Mas was looking at the smallest slab and thought it was so interesting.  While he had it up on the table to study he remembered this stone, and thought that maybe they might fit together.

Mas tried different orientations and locations for the stone, looking for the best combination.  He tried turning the stone around and using the less colorful back as the new front, and found that the rough, subdued, appearance of the stone harmonized with the wabi-sabi feeling of the wood.  In this orientation, the movement and lines of the stone and slab echo each other, creating a unified composition.   I find it quite remarkable – a rock found in a bin and a piece of wood found on a scrap heap seem to fit together as if intended.

Mas did very little work on the wood.  He made a shallow seat for the stone, just deep enough to hold it upright, removed the bark at the front and slightly carved the edge of the slab.  He finished the piece by applying a light stain and flat varnish to bring out and preserve the natural wood color.  In this way, Mas tried to show the simplicity and purity of the wood and stone.

Stone is the beauty of the earth and wood represents life and death.  Combined they create endless possibilities for art.  – Mas Nakajima


Walnut Mountain, May 2008

Click on this photo for pictures of the development of this piece.

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Goshiki Numa

June 12, 2008

“Goshiki numa ” (五式沼 Five color pond) – 2007; W 5″ x D 4″ x H 3 1/2″; stone and black walnut

One day on the way home from a Klamath River stone-collecting trip we stopped near Eureka to poke around in a rock shop. Out in the yard they had a bin of these rocks for sale by the pound. They aren’t typical suiseki – being rather colorful and decorative – but they were so interesting and also inexpensive.  We spent quite a bit of time searching through the pile and selected a few to bring home. The bright colors in this one calmed down after a few months outdoors, so Mas made a simple base and we brought it inside to enjoy.

Last October we visited Yamagata, Japan. We had never thought to go there – it’s not a major tourist destination – but when we mentioned  to our friend Hideko Metaxas that we were going to Tōhoku (the northern part of the main island) she insisted that we visit her sister’s family in her home town of Yamagata.  As everyone knows, it is often exciting to get off of the major tourist route, and this trip turned out to be no exception. The visit to Yamagata was one of of the highlights of our Japan trip, and we are so grateful to Hideko-san and the Iwata family for making these arrangements.

The Iwata family’s hospitality is a memory we will cherish. During our two days they took us sightseeing all around the area. Spending the night at their house was like being at a first-class ryokan.  The sight-seeing tour included the Yamagata castle with its 400 year old cherry trees, the ancient Mountain Temple (Yamadera), the 350-year old Maple Garden and Tea House a short walk from their house, and the impressive Mount Zao, which is one of Japan’s most active volcanoes.

Okama, the crater lake near the top of Mt. Zao, is also known as the Five Color Pond (Goshiki numa 五色沼) because of the way it changes color from day to day.  When we returned home Mas noticed how our colorful little rock-shop stone evokes this image.  Whenever we look at this suiseki we remember our wonderful visit to Yamagata and our deep appreciation to the Iwata family.


Autumn in Yamagata
click to view gallery
2008 06 10 006-smart fix edited cropped
Suiseki display – Goshiki Numa
click to view gallery

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The Cave

June 5, 2008

“The Cave” – 2008; W 18″ x D 10 ” x H 8 1/2″; Eel River stone and ash wood with stain

Mas collected this is stone from the Eel River.  The finished suiseki gives the image of a beautiful snow-covered distant peak with a deep, mysterious, cave underneath.

Mas spent a lot of time studying this stone to learn how to appreciate it as a suiseki, and in this article I want to share his  artistic process.  The main problem with the stone is the heavy left-hand side, which makes the stone very unbalanced.

Clicking on this picture will take you to a photo gallery that goes with this article.  I’ve put some detailed information in the captions for each photo.

The first set of pictures (1-7) show various possibilities for how to position the stone.  One solution is to cut the stone (picture 6).  This solves the imbalance by removing the left side, and would make a rather nice, simple toyama ishi (遠山石 or distant mountain stone).

As readers know, Mas sometimes will cut a stone when he feels it is artistically necessary, but in this case he did not want to. This meant that he had to find a way to handle the left side imbalance.  Mas said: “I know I am crazy and it doesn’t make sense, but I love this part as much as the beautiful snow mountain. The huge unbalance is so unique! Because of that reason, I would rather take a chance and try to create the art.

One option was to finish this as “suiseki art” similar to Looking Forward.  But the combination of the snow mountain overhanging the wide board didn’t seem to harmonize.

Alternatively, he could just simply make a daiza by filling up the space under the stone.  But this would result in a big wood wall in the front – sort of repeating the problem I discussed in The Struggle.

He wanted to change what seems like a negative into a positive. It is not unlike human life – we all have weaknesses of various kinds that aren’t going to go away.  We have to live with and work with these aspects of ourselves and others.

Once he has decided on his approach, he makes some sketches of the design, and then renders this design into a plaster model (Pictures 8 and 9).  Once he is satisfied with the design, Mas completes and refines the daiza in wood (Pictures 10 and 11).

The finished piece is shown from different angles in pictures 12-15. In this suiseki Mas tried to balance the weight of the stone with the emptiness of the cave.  He said “Dark, empty, space creates a mysterious feeling and allows people to use their own free imagination.

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