MADARA MANJI has been vigorously active this year, including exhibitions at the Simose Museum. His latest works mark a transformation—from the previous linear cubes to wall-mounted pieces characterized by gentle curves. In this interview, we spoke directly with the artist about his new series Touch, delving into both the conceptual foundations and the meticulous process behind its creation.

Creating a World from the "Wall"

Whitestone Ginza New Gallery

In his latest series Touch, MADARA MANJI departs from his signature three-dimensional cubic sculptures to explore wall-mounted forms that integrate curved surfaces of mokume-gane with aluminum alloy structures. The shift marks a significant evolution in his practice. One that is rooted in deeply personal reflection.

What inspired this move to two-dimensional, wall-based works?

“I became intrigued by walls,” MANJI explains. “When I was living in my previous studio, I had no money, no entertainment. So I spent a lot of time just staring at the walls.”

He recalls that space vividly. It was a far cry from the spacious, well-lit studio he now occupies. The old walls were worn and marked with cracks, stains, and discoloration. “It wasn’t a place that made people feel at ease,” he says. “It was sterile and oppressive.”

Yet it was in that stillness that something shifted.

“When the texture of a wall changes, doesn’t the world around it also change?” MANJI asks, pausing as if to let the question linger.

It was this line of thought that led him to experiment with wall-mounted works. “By placing an artwork onto that ‘wall,’ I felt as if I was constructing a new world—one where my own perspective could enter and transform the space.”

While MANJI’s work had long embraced volume and mass, he had never fully explored the potential of a two-dimensional plane. “Art is often thought of as something flat, but I’d always stayed away from that. This time, I thought, why not try something new?”

Whitestone Ginza New Gallery

His new approach was also influenced by an installation he created last year during his solo exhibition at the Shiga Kogen Roman Museum. There, in a museum designed by internationally acclaimed architect Kisho Kurokawa, MANJI had an experience unlike anything before.

“I presented an installation unlike any I had attempted previously. It made me deeply aware of how crucial it is for a work to exist precisely at a particular place and time. What's deeply intertwined with that presence are the architecture and the location itself. When working closely with architecture, I realized how significant the presence of walls truly is.”

Expansion Born from Change

Whitestone Ginza New Gallery

Another defining feature of the Touch series is the curved form created by metals crafted through mokume-gane techniques. According to MANJI, this series symbolizes interactions with various elements, representing human relationships and the changes that emerge from them.

"For a very long time, I worked alone," he explains, "but recently, I've started creating pieces as part of a team, discussing and collaborating. This has allowed for new ideas and processes that I couldn't have achieved alone. It inevitably leads to transformation."

MANJI describes individuals as "points," their interactions as "lines," and the resulting connections as "planes."

"Connecting two points only forms a straight line, but when multiple points gather, they begin forming lines that are no longer straight," he says. "What's crucial here is not only myself, but other people, and spaces shared with those people. This combination sparks something expansive within me. Essentially, having a studio and working alongside others makes it all possible. Furthermore, as interactions with others multiply, the cause-and-effect relationships become more complex, creating a sense of curvilinear expansion or inflation. I wanted to create sculptures that embody these shapely, expanding lines."

Whitestone Ginza New Gallery

This expansion took concrete form in the Touch series. Yet, as MANJI emphasizes, the curved surfaces are not purely symbolic of positive growth.

“My works aren’t uniformly positive. In fact, that aspect is minimal,” he says. “They include negative elements as well.”

The forms suggest states like being “unable to remain straight” or pushed to the brink manifesting tension, pressure, or emotional strain.

“When the world expands, good things happen, but so do bad ones,” MANJI reflects. “The same goes for change. While some changes bring excitement, others leave us feeling lonely or melancholic.”

So what drives him to portray this duality?

“I think the way we process this constant swell of experience. Both the thrill and the hardship which is one of the most beautiful things about being human. I want my works to reflect that complexity, not just aesthetically, but emotionally.”

Whitestone Ginza New Gallery

The  Touch series is also influenced by Zen philosophy.

“In Zen, there’s a saying, ‘One is many, many is one.’ Broadly speaking, everything in this world occurs within relationships of relativity and is interconnected through cause and effect. Essentially, we recognize ourselves precisely because there’s a world beyond ourselves. My interest in walls connects closely with this idea.”

This concept is reflected not only in the series but also in MANJI’s exhibition at Simose Museum. There, he presents large-scale installations, exploring the same theme through different approaches.

“As the external world flows in and gradually becomes part of me, the more worlds I touch, the more expansive I become. With the 'touch' series, what I truly wish to reach out and touch is the outline of the world itself.”

A Triple Curved Surface Born from Continuous Hammering

Whitestone Ginza New Gallery

When it comes to actually creating these curved metal surfaces, MANJI describes them as “works that have been hammered more than ever before.” In a previous interview, he explained his production process, but with this new focus on curvilinear forms, we asked him to elaborate on how his process has evolved.

“I used to create flat pieces using mokume-gane metal,” he explains. “But this time, I’m making curved surfaces. Not just in one direction, but triple-curved surfaces, meaning curves that extend along three axes. Forming such surfaces in metal is difficult, but I use a technique called tankin, which involves shaping metal sheets into three-dimensional forms.”

Traditional Japanese metalcraft is typically categorized into three main techniques: tankin (forging), chukin (casting), and chokin (engraving). MANJI originally specialized in tankin, producing mokume-gane metal sheets, and later incorporated chokin techniques—engraving and additional surface processing—to develop his three-dimensional works.

In this series, after first creating the mokume-gane sheets, he continues to hammer them in fine detail, gradually forming the complex curved surfaces.

In the Studio

“I start by flattening a sheet of mokume-gane metal,” MANJI explains. “Once I have a single, uniform sheet, I place it on a base with a curved surface, called an aru. Then I begin hammering relentlessly, adjusting and shifting the sheet, striking it with fine, controlled blows. Over time, the metal gradually takes on a smooth, beautifully curved form. This is an age-old technique.”

It’s a skill he acquired during his apprenticeship under a traditional metal engraving artisan. Though the method may seem straightforward, it requires immense precision and patience.

“In my earlier works, I would hammer dynamically during the actual creation of the mokume-gane material itself,” he says. “But with this series, the process doesn’t stop there. Even after the sheets are complete, I must continue hammering to shape them.”

He adds, “I strike the metal gently but sharply with quick, precise movements. If I lose focus, the lines can warp or the balance shifts. It’s a highly delicate process, one that demands a refined level of control.”

Gradually shaping the curve by hammering the metal sheet.

The  Touch series emerged from this painstaking, seemingly endless process of hammering the metal sheet, gradually shaping its curved form. Once these curved mokume-gane sheets are completed, they are set into aluminum body parts, bringing the works to life. Each piece is a testament to the artist's relentless pursuit of challenge.

“I always want to present something new. To do that, I am constantly searching for something that breaks through what I’ve done before. This time, I discovered that expression through curves. To make this sense of tension and strain more visible, I incorporated aluminum parts such as an inorganic, uniform material that contrasts sharply with the organic curves,” MANJI explains.

The resulting works embody the concept of "PRESSURE," the title of the exhibition is an expression of forms that swell and expand under pressure.

Mokume-gane Sheets Lined Up in the Studio

Recognition born from interactions with others leads to changes that spark new reactions. As the artist evolves, so too do his works, transforming into new forms. The changes MADARA MANJI creates have taken shape as undulating curves, a testament to his evolving vision.As MANJI continues to push the boundaries of material and expression, one thing is certain: his creative evolution is far from over.

To view more of his work, including earlier series, visit the online exhibition at Whitestone Gallery.

MADARA MANJI: PRESSURE