[Komachi Engi] Akane Kanamori — Where She Stands Now

Since last spring, we have had the pleasure of working with Akane Kanamori. I wrote about how we first met in a blog post at the time, but since then her momentum has been remarkable. In August of last year, she received both the Jury Special Award (Koji Yoshida Prize) and the Tagboat Special Award at Independent Tokyo, marking not only her achievements as a calligrapher but also her rapid growth as an artist.

“After I gradually began exhibiting my work in contemporary art shows, my acrylic-based works started to gain attention. Through that, more people came to know me and would say, ‘Oh, you also practice calligraphy.’ When collectors who acquired my art pieces tell me, ‘Actually, I’ve always been interested in calligraphy,’ or ‘I’ve been looking for a hanging scroll,’ it’s incredibly encouraging.”

Hearing this reminded me of something that often happens at Kamatotsuchi. Many people first encounter works such as plates, flower vases, or sake vessels, and from there discover the world of chawan. The entry point may be free and open, yet over time, they find themselves drawn into the depth of tradition and form. I felt a strong resonance with this shared path.

“For me, calligraphy is always rooted in tradition. There is form, and there are many things that must be preserved. As I continue practicing calligraphy, there are many parts I feel ‘cannot be broken.’ On the other hand, in my art pieces, I can express myself much more freely. In terms of expression, they are the same, but in my mind, I keep them distinctly separated.”

Listening to her, I found myself thinking of the world of chawan. Chawan, too, allows freedom of form, yet there remains a firm framework of aesthetics and tradition as tea utensils that cannot be broken. Meanwhile, objects and sake vessels allow for greater freedom of imagination. I felt deeply drawn to this structural similarity between calligraphy and chawan.

I then asked her about the role of chance.

“This is something I’m particularly aware of in calligraphy. Especially when using light ink, the way the ink bleeds greatly affects the result, and it’s influenced by humidity and weather. Sometimes I check the forecast and decide, ‘I’ll write on this day.’ While I assume I can write as intended, the bleeding and dry-brush effects can’t be fully controlled, so in that sense, I leave it to the ink and the paper. With acrylic works, on the other hand, such changes rarely occur, so I can achieve results more or less as planned. In that sense, calligraphy is difficult, but that’s also what makes it profoundly deep and enjoyable.”

As I listened, I felt that the similarities I perceive between calligraphy and chawan were being affirmed in her own words. Within the strong framework of tradition, confronting and embracing chance as part of the act of expression — there is a tension and fascination here that clearly resonates with the making of chawan.

Continuing to honor tradition through calligraphy, while freely pursuing innovation through art. Moving naturally between these two poles and pursuing each to its fullest. This, I feel, is where Akane Kanamori stands today.