{"id":41588,"date":"2026-09-01T12:40:33","date_gmt":"2026-09-01T10:40:33","guid":{"rendered":"https:\/\/thefrenchjewelrypost.com\/?post_type=style&p=41588"},"modified":"2026-09-03T01:25:43","modified_gmt":"2026-09-02T23:25:43","slug":"aya-iwata-kumonoie-cloisonne-enamel-a-vessel-for-memory-and-emotion","status":"publish","type":"style","link":"https:\/\/thefrenchjewelrypost.com\/en\/style\/aya-iwata-kumonoie-cloisonne-enamel-a-vessel-for-memory-and-emotion\/","title":{"rendered":"Aya Iwata: Cloisonn\u00e9 Enamel, a Vessel for Memory and Emotion"},"content":{"rendered":"

What do we preserve of someone we love? What do we leave to those who will outlive us? How can an object hold a presence and give memory a form capable of sustaining the bond? Aya Iwata answers these questions through her Kumonoie: small house-shaped urns that, over time, have become pieces of jewelry. Last April, I visited Aya Iwata in her Tokyo studio. For nearly 30 years, she has been developing her Kumonoie<\/em>\u2014literally, \u201cHouses in the Clouds\u201d\u2014objects and jewelry made of fine silver, cloisonn\u00e9 enamel, and p\u00e2te de verre. This body of work is shaped by loss, memory, and legacy. For the exhibition “Japan – Stillness and Substance” (“Japon, Murmures et Mati\u00e8res”), she presents a variation consisting of five brooches: \u201cThe five brooches I created for the exhibition each stand on their own, but together they form a sequence tracing the universal cycle of life. Each is associated with a date, a specific moment in my life, except for the last one: it evokes the day when I will look down upon the world from heaven, beside my mother. Together, we will watch life continue on its course.\u201d<\/p>\n

The Birth of the\u00a0Kumonoie<\/em><\/strong><\/h2>\n

Aya Iwata\u2019s Christian faith directly informs her reflections on loss, love, and the enduring bond between the living and the dead. She was still a student when her mother died in 1991. For two years, she kept the funeral urn close to her, even taking it with her on her travels. She eventually entrusted it to her church for burial, but her sense of loss did not diminish. To come to terms with the fear of death she had carried since childhood, Aya Iwata imagined small urns capable of holding a portion of the ashes, as well as, symbolically, the memories and presence of the deceased. Their p\u00e2te de verrelids, shaped like clouds, protect without confining: they suggest a passage rather than a final separation. These early\u00a0Kumonoie<\/em>\u00a0found a natural extension in brooches, which are more intimate and easier to wear. Nestled on the reverse are a miniature silver cloud and a tiny house carved from quartz\u00a0[1]. The brooch thus becomes a talisman, a portable dwelling inhabited by memories, love, and unseen presences.<\/p>\n

Silver and Enamel: Spiritual Depth<\/strong><\/h2>\n

Her parents, both artists and teachers, introduced her to materials and creative processes at a very early age. \u201cAt the age of four, I was already experimenting freely, which led me to create my first piece of cloisonn\u00e9 enamel. Its brilliance fascinated me.\u201d At Tokyo University of the Arts, she studied sculpture and metalwork before further exploring Japanese cloisonn\u00e9 enamel (y\u016bsen shipp\u014d<\/em>), a technique refined to an exceptional degree during the Meiji period (1868\u20131912). This dual training enables her to carry out every stage of her Kumonoie<\/em> herself. She works sheets of fine silver, chosen for their malleability, then cuts and shapes them into three-dimensional forms. The different components are joined using 85% silver solder. On the surface, she outlines the cells that will receive the powdered enamel using extremely fine ribbons of silver. \u201cIt is a traditional technique, but over time I have made the process my own. I repeat the gestures and build up the layers to create depth,\u201d she explains. Between each layer, patient polishing of the enamel reveals the brilliant whiteness of the silver and gives the colors their distinctive depth, at once poetic and celestial. Never conceived as mere decorative effects, the patterns and tones emerge intuitively, guided by her inner state and the material\u2019s reactions. For her,\u00a0\u201cworking with silver and enamel has become as natural as breathing.\u201d<\/p>\n

Enamel: A Technique Reimagined<\/strong><\/h2>\n

\u201cWhen I invited her to take part in the exhibition Conversation at the Mus\u00e9e des Beaux-Arts de Limoges in 2022, my intention was to place her contemporary practice in dialogue with the museum\u2019s historic collections and to show how far enamel techniques could be pushed, hybridized, and renewed. Her imagination, patience, color choices, and the delicacy of her patterns transform technical prowess into an artistic language,\u201d explains Lise Rathonie, then president of the Syndicat Professionnel des \u00c9mailleurs Fran\u00e7ais (SPEF) [2]. In 2023, following the exhibition, the\u00a0Mus\u00e9e des Beaux-Arts<\/a> acquired a\u00a0Kumonoie<\/em>\u00a0created in 2020. The work joined a collection of more than 600 pieces tracing the production of Limousin workshops from the Middle Ages to the present day. Through its form and symbolic function, this Kumonoie<\/em> echoes two types of precious containers found in the museum\u2019s collections: the medieval reliquary, often designed as a small architectural structure intended to house a saint\u2019s relics; and the pyx, a lidded liturgical vessel used in particular to hold consecrated hosts. In 2024, Aya Iwata donated a Kumonoie<\/em> to the Archdiocese of Palermo. Its silver wires depict waves, ships, fish, the deer of Yakushima, and birds crossing the sky. The work was created for the beatification of Father Giovanni Battista Sidoti, a Sicilian missionary who secretly landed on Yakushima Island in 1708, at a time when Christianity was banned in Japan.<\/p>\n

Traditionally decorative, enamel becomes, in Aya Iwata\u2019s hands, an intimate material charged with memory and emotion.<\/p>\n

 <\/p>\n

[1]\u00a0A stone traditionally associated with clarity, purification, and protection.<\/p>\n

[2]\u00a0The exhibition\u00a0Conversation, held at the Mus\u00e9e des Beaux-Arts de Limoges from May 21 to November 7, 2022, was part of\u00a0Impertinente. La Rencontre \u00e9mail & m\u00e9tal. See Jean-Marc Ferrer and Lise Rathonie (eds.),\u00a0Impertinente. La Rencontre \u00e9mail & m\u00e9tal, exhibition catalog, Limoges, SPEF\u2013Les Ardents \u00c9diteurs, 2022, 288 pp., ISBN 978-2-9582621-0-5.<\/p>\n

 <\/p>\n

Learn more about my exhibition “Japan, Stillness & Substance”<\/a> (“Japon, Murmures et Mati\u00e8res”) at Sotheby’s Paris held at Sotheby\u2019s Paris from October 1\u20136, 2026, as part of Parcours Bijoux 2026, and explore Jewelry in Japan<\/a>.<\/p>\n

Opening talk (registration required) on October 1, 2026, at 6:00 p.m. at Sotheby\u2019s Paris, with three of the artists in attendance : Aya Iwata, Mariko Sumioka, Shinji Nakaba.<\/p>\n","protected":false},"excerpt":{"rendered":"

Last April, I met Aya Iwata at her studio in Tokyo. For nearly thirty years, she has been developing her Kumonoie series\u2014literally, \u201cHouses in the Clouds\u201d\u2014objects and pieces of jewelry made of fine silver, cloisonn\u00e9 enamel, and p\u00e2te de verre. This body of work is imbued with loss, memory, and legacy.<\/p>\n

By Sandrine Merle.<\/p>\n","protected":false},"featured_media":41493,"template":"","tags":[2111,4757,339],"class_list":["post-41588","style","type-style","status-publish","has-post-thumbnail","hentry","tag-contemporary-jewelry","tag-exhibition-japan-the-french-jewelry-post-sothebys-paris-2026","tag-japan"],"acf":[],"yoast_head":"\nAya Iwata: Kumonoie in cloisonn\u00e9 Enamel, a Vessel for Memory<\/title>\n<meta name=\"description\" content=\"Aya Iwata has been developing her Kumonoie literally, \u201cHouses in the Clouds\u201d\u2014 pieces of jewelry made of fine silver and cloisonn\u00e9 enamel.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thefrenchjewelrypost.com\/en\/style\/aya-iwata-kumonoie-cloisonne-enamel-a-vessel-for-memory-and-emotion\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta 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