Reincarnation is a group exhibition that explores the material culture and aesthetic significance of antique Japanese cast-iron tea kettles (tetsubin / 鉄瓶). Once ubiquitous fixtures of everyday domestic life, these vessels simultaneously served as luxurious markers of status, taste, and artistic pursuit for the aristocracy and wealthy classes. This cultural paradigm shifted dramatically in the twentieth century, however, with the onset of rapid Westernization and industrialization across Japan.

HAlthough the production of iron kettles originated in the Edo period (1603–1867), it was during the subsequent Meiji period (1868–1912) that Japanese metalworking craftsmanship reached its zenith, cementing the popularity of cast-iron ware. This cultural resonance is captured in Natsume Sōseki’s seminal novel, I Am a Cat, in which he notes that the wealthy "were so used to hearing the sound of the metal made by the lid of the Ryūbundō (龍文堂) iron kettles."

Traditionally forged from regional cast iron sourced from eastern Japan, the production of these kettles required highly technical, closely guarded casting methodologies. This expertise was exclusive to prominent artisan lineages and prestigious studios like the Ryūbundō, where master craftsmen and studio heads traditionally inherited and shared the same professional moniker across generations. Following the decline of these foundational lineages and studios toward the end of the twentieth century, the foundational esoteric blueprints and secret techniques of this casting tradition were nearly entirely lost.

By showcasing vessels from the Edo and Meiji eras, Reincarnation examines a once-flourishing lineage of Japanese metalwork, contextualizing it within the classical aesthetic philosophies of wabi-sabi (the beauty of impermanence and imperfection) and mono no aware (the poignant awareness of transience). Bridging historical tradition with contemporary preservation, the exhibition also features kintsugi (golden joinery) teaware by the Japanese-born, Vancouver-based artist and conservator Naoko Fukumaru.

By showcasing vessels from the Edo and Meiji eras, Reincarnation examines a once-flourishing lineage of Japanese metalwork, contextualizing it within the classical aesthetic philosophies of wabi-sabi (the beauty of impermanence and imperfection) and mono no aware (the poignant awareness of transience). Bridging historical tradition with contemporary preservation, the exhibition also features kintsugi (golden joinery) teaware by the Japanese-born, Vancouver-based artist and conservator Naoko Fukumaru.

Naoko Fukumaru 福丸直子 is a Kyoto-born, Vancouver-based kintsugi artist. A professional conservator — who previously worked at the Detroit Institute of Arts Museum, the Metropolitan Museum in New York, and was involved in major conservation projects such as Leonardo da Vinci’s The Last Supper — Fukumaru has been collaborating with prominent B.C. potters since 2019 to restore, adapt, and reinvent their broken or cracked works. The exhibition presents over 200 works of kintsugi as well as the new commission and installation Slug Pottery Excavation Room, an homage to the legacy of the artists who helped define the pottery scene in B.C. Created with pieces of broken ceramics found at the former site of Mick Henry’s studio, Slug Pottery, the installation gives shape to a unique form of collaboration between artists past and present. Fukumaru’s kintsugi respectfully brings new life and attention to the works of Henry, Lewis, Wayne Ngan, Heinz Laffin, and others.