A Craft Practice Rooted in Okinawa’s Nature and Everyday Landscapes

Based in Nago, in the northern part of Okinawa Island, Hiroyuki and Ai Tokeshi run the atelier Mokushikkō Tokeshi. The bowls, utensils and everyday objects shaped by their hands appear imbued with the generous, untamed vitality of the land itself, echoing the presence of the Yanbaru forest that stretches endlessly around their workspace.

‘The wood we use comes exclusively from Okinawa. Influenced by the subtropical climate and the nature of the soil, the trees do not grow very tall and are often twisted in form. Their textures vary widely, from very soft to extremely hard, and the heat and humidity make them particularly susceptible to insects. As a base for lacquerware, these are extremely difficult materials to work with.’

On a national scale, sourcing wood better suited to lacquerware would be far easier. Why, then, persist in working with local woods, known for their constraints?

‘Because this is where we live. It’s as simple as that.’

Both born in Okinawa, Ai and Hiroyuki first trained at a prefectural craft training centre—she studying lacquer, he woodworking. They then moved to Wajima, a major centre of lacquerware production, where they apprenticed under master craftsmen and rigorously absorbed traditional techniques. After seven years of training, they returned to Okinawa, ready to establish themselves independently. It was then that they encountered an unexpected obstacle.

‘We had acquired the techniques, but no clear image of what we wanted to make emerged. We simply didn’t know where to begin.’

At that point, they were deeply struck by a phrase by Jissei Ōmine, a master ceramicist from Yomitan: ‘Making things is a matter of thought; the result comes naturally.’

‘We realised that we needed to reach out to what was right in front of us—the nature of Okinawa, the passage of time, scenes from everyday life. The answers were close at hand.’

A Practice Grounded in Orally Transmitted Knowledge

The very characteristics of Okinawan wood, initially perceived as obstacles, gradually became an asset. As they continued to work with the material, the island’s landscapes, climate and rhythm of life began to manifest more clearly in their pieces, helping them to define what they were truly seeking.

‘The refined lacquerware of Wajima is, of course, wonderful. But living in Okinawa and working with its wood has taught us to see the beauty in simpler bowls—pieces that allow you to fully feel the surface of the wood.’

The trees they use grew freely, in the wild. Their strong individuality translates into distinctive characteristics that are often difficult to control, requiring time-consuming and meticulous finishing work.

‘For some species, there are no reference materials at all. We rely instead on the knowledge passed down by elders, particularly the local ojii. By repeating failures and accumulating experience, we gradually learned how to anticipate and address problems.’

When the material is not in ideal condition, the craftsman must quickly grasp its particularities, apply the appropriate techniques, and find, on their own, a path that allows the material to unfold with balance and integrity. By steadfastly pursuing woodworking and lacquer practices rooted in Okinawa and its present-day context, the duo is convinced that a form of making will inevitably emerge—one that can exist nowhere else.

‘We want to express, with honesty, the richness of our real experiences and our everyday lives. That sensitivity is something we want to hold on to.’

The deigo, an emblematic tree of Okinawa and the prefecture’s official flower, offers a telling example. Its vivid red blossoms, which bloom in early summer, are striking, yet its trunk is extremely soft and quickly develops mould if left unattended. At the same time, it absorbs lacquer remarkably well and offers good dimensional stability as a base material. By listening closely to what the material has to say and approaching it with care, the Tokeshi aim to shape it without undue force. This attentive attitude is clearly reflected in their lacquerware.

A Form of Making Unique to Okinawa

Fifteen years into their career, the couple continue their joint practice under the name Mokushikkō Tokeshi, while also developing individual projects. Ai is deepening her study of traditional Ryūkyū lacquerware, while Hiroyuki is exploring new ways of working with Okinawan wood through his own venture, Nakayama Mokkō, dedicated to wooden objects.

‘In the past, Okinawa had a well-established history of woodworking and lacquerware. Wooden houses and furniture were made here, and workshops under state control produced lavish lacquerware for offerings and tribute. Now that what can be done in this place has become clearer to us, we would like, with deep respect for these traditions, to also create “ceremonial vessels” for celebrations—New Year’s gatherings and joyful family occasions.’

Not allowing oneself to be bound by tradition, while remaining acutely attuned to the currents of the present. This ability to evolve without losing a sense of generosity may well be one of Okinawa’s defining qualities.

‘The knowledge, techniques, culture and history cultivated by past generations through the course of life form our foundation. It is because there was a past that we are here today. With that awareness, we continue to work with our hands every day.’

More information on Mokushikkō Tokeshi can be found on the atelier’s website (in Japanese) and on Instagram.