There are artisans known as "Contemporary Master Craftsmen." This is the nickname given to nationally recognized "outstanding craftsmen." One such artist is jewelry craftsman Osamu Shuto.
From his shop and studio in Nagoya, Shuto continues to create high-end jewelry pieces for Japan's renowned jewelry brands, truly possessing the pinnacle of Japanese jewelry craftsmanship.

Sudo's pieces, woven with cloisonné, gold, platinum, and numerous gemstones, are breathtaking, captivating, and mysteriously captivating.
The translucent freshness of the cloisonné-crafted leaves, the delicate lines of the metal that even express the veins, or the adorable shapes and eyes of the animals that seem to breathe. Each piece is meticulously crafted on both the front and back, creating a structure that exudes grace from every angle.

How can he achieve such exquisite intricacy? What are Shuto's thoughts about jewelry as he creates his pieces? And what are the roots of his continued creativity? We spoke with Shuto, who recently held his first solo exhibition.

--Not only is his technique impressive, but where does Shuto's passion for pursuing beauty come from, devoting so much effort to each piece of jewelry?

I've loved drawing since I was a child, and even dreamed of becoming an artist someday. However, due to the demands of my family business and the intense daily grind, my dream seemed to drift away. When I turned 20, I decided, "I want to work in the arts, I have no choice but to pursue a path that allows me to create what I want to create," and I got a job making metal jewelry. After flipping through the phone book and making phone calls, I finally met my mentor, Mitsuya Okamura. I begged him to let me work there, and he hired me. We even had to do a pencil sharpening test (laughs).

--Why did you, Shuto, leave art for a while and then return to it, become fascinated with jewelry?

It was when I saw the work and creations of my mentor, Mr. Okamura, that I realized jewelry was the only thing for me.

- Meeting your mentor and your work in creating precious metal jewelry have had a major influence on you today. So, what is your vision of jewelry?

I believe jewelry is not a commercial endeavor, where similar pieces are mass-produced and consumed in response to trends. What's important is for it to express the wearer's individuality. What I learned from my mentor, Mr. Okamura, is the importance of putting thought into a piece, "Imagine creating something that will bring a smile to the face of the wearer in the end." I learned that jewelry has the power to bring out a person's individuality.

-Your creations truly bring a smile to the face. Where do you get the inspiration to create these pieces?

Perhaps it's the natural beauty of Aso, Kumamoto Prefecture, where you were born and raised. I capture images that arise when I recall the scenery from my childhood. It's better not to look too closely to capture the essence of what I'm thinking. For example, when I create animals, I sketch their gestures and expressions directly from the image in my head. I aim to convey a sense of gentleness, elegance, and grace.

--While my works vary in style, they all share a common beauty, from the "Picture Series" depicting the natural activities of plants and animals, to the "Decorative Jewelry" with sparkling precious stones, to the antique-inspired "Classic Jewelry." What does beauty mean to you?

The underlying theme of all my pieces is "from stillness to movement." I want to express the dynamism and unleashed energy that occurs when something still begins to move, and create works that allow viewers to feel that same energy. I also use traditional techniques that have been used for a long time, because the pursuit of how to make gemstones look beautiful naturally leads me back to ancient methods. I believe that techniques that have been used for thousands of years make sense. However, there are limitations unique to the modern era. For example, when cloisonné, which is used to express the transparency of "Plique-à-Jour" leaves, is used to achieve a thin finish, air bubbles become more prominent and the piece appears cloudy. When I researched why René Lalique's works are so translucent and beautiful, I discovered that he used chemicals that are no longer available today. It's important to challenge yourself to create works that make the most of modern technology and techniques within these limitations.

--Recently, your once-in-a-lifetime solo exhibition, "Osamu Shuto: From Stillness to Movement," was held at Isetan Salone (now closed). How did you feel about holding a solo exhibition at this time?

I've always wanted to hold a solo exhibition someday. However, I also felt that commercial solo exhibitions aren't something you do often, and I wanted to hold one once in my lifetime, when I had established my own path. It's been 40 years since I started this career at the age of 20, and I've also reached the milestone of turning 60. When I look back at my old pieces, I'm satisfied with each one, but I can see where I would do it differently now, or where I overdid it or where I fell short.

--Mr. Shuto's studio also puts a lot of effort into training young artisans. What are your thoughts as you work with your apprentices?

Training young people may sound grandiose, but my philosophy is to "teach everything openly." In the old days, when people learned by watching, it took 10 years to master something, but with today's explanations, you can probably do it in three. However, what's most important is to teach "heart" as well as technique. Even if your technique is mature, jewelry without heart is like "commercial jewelry that is made and sold"—it won't stay in people's hearts or in their hands. With the goal of teaching "heart," I try to get down to my apprentices' level and consider how they feel. I treat them gently, sometimes sternly, using a "carrot, stick, and stick" approach (laughs).

-While possessing the highest level of skill, where does your passion for passing on your skills and heart to the next generation of artisans come from?

I myself built my current foundation based on my master's teachings, and then I went independent under the second generation, working hard until I was recognized. As I continued, I finally began to understand what my master wanted to do and what he wanted to say. Young artisans have also grown, and now we work together as a team to create new pieces. I believe I can continue his teachings by working with them to bring their works to the world. I also hope that young artisans will acquire the ability to express themselves with skill and heart, and achieve their dreams.

[Profile]
Osamu Shudo
Born in Kumamoto Prefecture in 1955. He worked for the late Mitsuya Okamura since 1975. He obtained his first-class National Skills Certification in 1984 and opened Jewelry Craft Shudo in Nagoya in 1986. He has since received numerous awards, including the Gold Medal at the 12th National First-Class Skilled Workers Competition "Skills Grand Prix" and the Minister of Labor's Award, as well as the Outstanding Skilled Worker Award (Contemporary Master Craftsman). In the fall of 2015, he was awarded the Yellow Ribbon Medal. In addition to being an Ivy League fashion VAN collector, he is also an animal lover who has kept dogs, pigeons, frogs, and other pets since childhood. His current pet dogs are Peko-chan and Goma-chan.