In this sixth journal entry, we are pleased to share more stories about the artisanal crafts at YORUYA, made here in Okayama. This time, we turn our focus to the makers of the wooden trays and glassware featured in the guest rooms.

The wooden trays have been crafted by Mr. Masayuki Kaga of Semi-Aco, who studied woodworking in Gifu Prefecture before opening his workshop in the quiet town of Mimasaka City, Okayama, 13 years ago.

In his younger days, Mr. Kaga worked as a salesman—a busy and fulfilling role, yet one that eventually left him physically and emotionally drained. One day, his wife suggested he enroll in a vocational school in Gifu that taught woodworking techniques. Having always been deeply interested in craftsmanship, he decided to leave his job, move to Gifu with his wife, and embark on the path of becoming a woodworker.

Mr. Kaga’s works are characterized by their meticulous finishes, so refined that they could be mistaken to be commercially produced. His style diverges from the rough-hewn aesthetic that was popular in handmade woodwork when he began his career. Back then, hand-carved wooden pieces often featured bold chisel marks left during the shaping process, asserting their raw, handcrafted nature. But Mr. Kaga felt uneasy with such a style.

Instead, his work embodies a quiet sincerity—designed not to stand out, but to seamlessly complement the objects and spaces around it. This philosophy reflects his deep respect for the relationship between craft and daily life.

The custom trays he has crafted for YORUYA feature a series of finely etched grooves on their surface. This detail not only enhances the design, but also prevents items placed on the tray from slipping—a perfect union of aesthetics and practicality, and a testament to Mr. Kaga’s thoughtful approach to woodworking.

Next, the glasses used in the guest rooms at YORUYA were crafted by Mr. Takeshi Kato and Ms. Junko Tanaka of Yamanone Glass. Like Mr. Kaga, the duo have also made Mimasaka their home.

After completing training in Kyoto and seeking a place to establish their independent workshop, they discovered their current property through a regional “vacant house bank” program and relocated to the area in 2022.

Mr. Kato and Ms. Tanaka’s journey into glassmaking began during their university years, when they encountered the work of master glassmaker Naoya Arakawa. A chance visit to his studio led to an invitation to work there part-time, and Arakawa soon became their mentor. During the apprenticeship, they learned not only glassmaking, but also various other crafts including wood chopping, plastering, and shed building—experiences they say continue to influence their work today.

At Yamanone Glass, the glassmaking process begins with raw materials, which they mix themselves. The kiln, temperature controllers, gas piping, and even the molds have also been made by the pair themselves through trial and error—unconventional practices in the world of glassmaking that reflect their dedication to their craft.

The resulting pieces are simple yet refined, with an understated elegance. Despite being handcrafted, they feel natural in hand and lack any sense of roughness.

When asked about their signature style, Mr. Kato replies, “Our transparency is ours alone.”

At first thought, transparency might seem like a uniform, colorless quality. However, through their self-mixed materials, homemade kiln, and original molds, Yamanone Glass has achieved a clarity that is distinctly their own. “We want to create things that seem like nothing at all,” he adds with a smile.

Despite their distinct crafts, Mr. Kaga and Yamanone Glass have both found their way to Mimasaka, drawn by its simplicity and quiet beauty. Their studios are only a five-minute drive apart. The rustic lifestyle of this mountain town, with its remnants of old ways of living, seems to resonate deeply with their calm, unhurried approach to making things. It feels almost serendipitous that these like-minded artisans should find themselves creating in the same place.

Toward the end of our interviews, as the three gathered to share their thoughts, a common sentiment emerged: “We’re not interested in creating work where the artist’s name overshadows the craft.” Instead, they believe that well-made objects will naturally find their place, cherished and used for generations. Listening to their reflections, we sense the quiet confidence that is also evident in their work.

Their philosophy is not one of fierce pride but of gentle humility. Like a farmer offering freshly harvested produce with a simple, “Try it, it’s delicious,” they radiate the same quiet assurance. Their creations carry the kind of deep satisfaction that only comes from a product made with intention and care—a quality that, like a well-prepared dish, speaks for itself.

At YORUYA, we invite you to experience the charm of these crafts born in Okayama. These works, shaped by the land and its people, offer a glimpse into a way of life that is as enriching as it is enduring.

Edited by Yuya Uenuma from YORUYA
Written by Keiichi Asakura