The Glucksman Gallery at University College Cork (UCC) is currently hosting RINN, a groundbreaking exhibition that brings together works by six Japanese and six Irish artists and makers. Running until November 2, the show celebrates the art of craftsmanship through wood, stone, and clay, emphasizing the shared creative processes that transcend cultural boundaries.
The exhibition's title, "RINN," carries significant meaning in both Gaelic and Japanese languages, primarily relating to concepts of place, circularity, and the cross-cultural exchange of ideas. This linguistic connection perfectly encapsulates the spirit of the show, which was curated by renowned Cork-based designer and sculptor Joseph Walsh in collaboration with Wahei Aoyama from the A Lighthouse called Kanata gallery in Tokyo.
According to Walsh, the exhibition's primary focus centers on crafted work and the celebration of the making process itself. "It's about making, the process of making, and the celebration of making," Walsh explained. The collaboration between Walsh and Aoyama stems from a long-standing relationship that began in 2012, fostering ongoing dialogue between artists and makers from both countries.
The RINN exhibition originally premiered in April at the newly opened Ireland House in Tokyo, designed by Henry J. Lyons in partnership with a Japanese architect. This substantial cultural undertaking, located in central Tokyo, represents a new approach to diplomatic cultural spaces, featuring open and inviting environments rather than the traditional guarded embassy aesthetic. The success of the Tokyo showing naturally led to bringing the exhibition to Ireland.
Walsh's connection to Japanese craftsmanship runs deep through his workshop in Fartha, County Cork, where he employs several Japanese craftspeople. Additionally, many of the artists have participated in Making In, the annual international makers' gathering that Walsh has hosted since 2017. Three of the Japanese artists featured in RINN have previously spoken at Making In events, creating genuine personal connections beyond the artistic dialogue.
The Japanese contingent includes several distinguished artists, notably 80-year-old sculptor Kan Yasuda, whose obsession with carving led him to relocate partially to Italy in pursuit of perfect white marble blocks. For the past 50 years, Yasuda has spent half of each year near Italian quarries and half in Japan, demonstrating his commitment to material excellence. Another featured artist, Sueharu Fukami, has gained recognition for his exceptional porcelain work, particularly his mastery of qingbai glaze—a technique developed under imperial patronage in China approximately 1,000 years ago. Remarkably, Fukami has not only preserved this ancient Chinese technique but has pushed it to standards that surpass what can currently be found in China.
The Irish artists bring equally compelling stories and exceptional craftsmanship to the exhibition. Walsh has contributed one of his own sculptures combining wood and stone, while the show also features Frances Lambe's sophisticated stoneware, Sara Flynn's exquisite vessels, and Deirdre McLoughlin's abstract black and white sculptural forms. Walsh particularly praises McLoughlin, describing her as "an amazing lady" who has been a significant figure in Ireland's art scene for years. Interestingly, McLoughlin's formative style was developed during her early years living and practicing in Kyoto, creating another layer of cultural connection within the exhibition.
Joe Hogan contributes two of his renowned woven nests to the exhibition, representing his evolution as a master basket maker. Walsh admires how Hogan's increasing confidence has led to a looser, more natural approach to his craft. "As the years go on, it's almost like he's got so competent that he doesn't need to prove that he can do a complex weave," Walsh observed. "He's got looser and looser, and you get these exquisite objects emerging that just look so natural, they could be found nests, albeit very large ones."
The most internationally recognized Irish artist in the show is Sean Scully, represented by a tapestry created specifically for the exhibition in collaboration with Mourne Textiles in County Down. This piece represents the first finished work from prototypes shown in Japan, and Walsh expresses particular excitement about this collaboration. The success of this partnership has inspired Scully to plan a full show with Mourne Textiles for Dublin's Kerlin Gallery, with hopes of eventually touring the exhibition to Japan.
A unique element of bringing RINN back to the Glucksman Gallery involves the architectural firm O'Donnell and Tuomey, who designed the gallery building 21 years ago. John Tuomey and Sheila O'Donnell have been active supporters of Walsh's Making In seminars over the years, leading to a collaboration on three experimental pavilions at Fartha. The exhibition includes a work called "Bridge" by the architectural partners, while the Sisk Gallery downstairs features an installation documenting the construction process of these pavilions, which draws inspiration from traditional local farmhouse materials: stone, timber, and thatch.
Looking ahead, Walsh is preparing for this year's Making In seminar, scheduled for September 5-6, featuring notable makers including Tarlach de Blácam of Inis Meáin Knitting Company, Dutch designer Hella Jongerius, and Frère Paolo, a Benedictine monk from the Abbey of Saint-Benoît d'En Calcat in France. Filmmaker Pat Collins has created a documentary about recent seminars titled "Making II," which will be broadcast on RTÉ 1 on September 1.
Walsh continues to focus on his primary work, employing a team of 20 people including designers, makers, and administrators. His studio currently works on projects in approximately 25 countries across the United States, Europe, Asia, and other international locations. Additionally, he is preparing for a solo exhibition in Paris next year, demonstrating the ongoing international reach of his artistic vision.
The RINN exhibition represents more than just a display of beautiful objects; it embodies a living dialogue between cultures, materials, and making traditions. Through the personal connections formed between the artists and the shared commitment to craftsmanship excellence, the exhibition creates a bridge between Irish and Japanese creative traditions while pointing toward future collaborations and cultural exchanges.
