Kintsugi Evolution
An introduction to 3 repair types
Last week I smashed my favourite bowl. Not intentionally this time, as I do tend to dedicate a few hours each week preparing broken bowls for our workshops.
No.
This time, it was not on purpose. Years ago, when I was a baby conservator in training, an accident like this might seem like a disaster. But that is part of the beauty of being in the business of mending. These situations become happy accidents instead of tragedies, and the glimmer of possibility arrises with each chipped ceramic mug in your kitchen collection. Sure, the reasons you might repair a precious family heirloom and your daily-use favourite coffee mug are related-but-different issues, however I think there are some ways we can approach both of these objects with love and reverence.
This dichotomy between the the ‘sacred and the common’ is something I have given lots of thought to in the studio. We all start from somewhere, and there’s something strangely comforting about the idea that a crack doesn’t have to mean the end. Whatever method you choose to heal your broken piece, the effort to heal is the point. I revel in watching people discover their abilities in this way. Seeing the sadness of having lost something dear, and realising that it doesn’t need to be the end. It’s this slow and intentional development that brings me to teaching every week.
I often begin our Kintsugi workshops by describing the bridge between modern and traditional methods of kintsugi. And while there are purists who love to practice only traditional methods, honing each step over hours of practice, I’m a firm believer that for many of us getting to that point needs to begin somewhere accessible. So let me introduce you to the three broad categories within kintsugi repair practice you should know about…
MODERN
Confession time…the first time I ever tried to repair a broken plate, it was using a cheap kintsugi kit. And you know what, while it was nowhere near as good as it could have been, it wasn’t terrible. In fact, I think I still have it somewhere. The important thing is that it introduced me to the concept, and some of the pitfalls I might encounter when working my way through a repair. One of the defining characteristics of a modern repair, is that while it might look similar to a traditional kintsugi repair, if you were to show someone who was a master restorer 500 years ago, they would not recognise any of the materials you are using. That is to say, all of the materials in a modern repair are modern, including the powders used. For a kintsugi repair, these are usually mica powders, which are, in my opinion, weird looking. Avoid these in your repairs unless you are going for something more experimental. Usually these are the types of materials you would find in a mass manufactured kit, and mica powder will be usually referred to as ‘imitation gold’ or something like that.
The main problem with modern repairs in the minds of most repair practitioners is that the spirit of kintsugi is deeply enmeshed with the concept of slow and deliberate repair. The love is in the time it takes, and sometimes this essence can be lost in the quick process of modern repair.
Key identifier of a modern repair:
Strictly modern materials, from start to finish.
pros:
Quick to execute
Can get decent results
Cons:
Loss of intentionality
Modern materials lack durability
The finished repair lines can look more thick than intended
Not food safe*
*I will do a separate post on this sometime in the future because the term food safe in ceramic and glass repair is thrown around quite a lot.
MODERN HYBRID
This is a more expansive category, as modern hybrid is where some restorers part ways in how they think kintsugi should be. While some believe it should be practiced with only traditional materials (urushi lacquer, 24kt gold powders), many including restorers and conservators, have adapted some modern materials into the repair practice. This has created a hybrid method in which the bonding and filling steps are achieved using modern materials, while the finishing steps are achieved using traditional materials. The reason you might choose modern hybrid repair over traditional comes down to two main questions:
what will the object be used for?
How much time do you have?
I would argue the care and craftsmanship it requires to complete a hybrid kintsugi repair is comparable to traditional repairs in several ways. By modifying some of the steps in which urushi lacquer is used, and saving this precious and complex material for the end, I find that your repair can still benefit from the beauty of refining each step in a way that’s a bit more accessible for the home studio practitioner.
Key identifier of hybrid repair:
Mixture of modern and traditional materials
Pros:
More accessible practice if you are lacking a dedicated studio space
Materials less costly
Gives you a great foundation from which to pursue traditional repairs
Beautiful repair lines can be achieved with hybrid methods
Cons
Again, potential loss of intentionality if the process is rushed
Not 100% food safe, so these repairs are best used for decorative objects
TRADITIONAL
Long-form traditional kintsugi repairs are wonderful, full stop. That is my biased opinion. Obviously, working through a repair using all naturally derived materials as kintsugi artists and maki-e craftspeople have done for hundreds of years is the ideal.
However, and my next statement will be a bit controversial, so traditionalists might want to avert their eyes…
Traditional long-form kintsugi repair is not the most accessible practice for everyone, and therefore not ideal (or necessary) for every type of repair.
Our westernised lives are in many ways messy, noisy and chaotic. And while we might love to have a dedicated space to do all of our repairs without dogs, cats or screaming children, it’s important that the practices we dedicate our time to can wiggle to fit within the windows of time we have to practice. In the opinion of this writer, shortening the window through modification of the materials is sometimes beneficial.
All that said, the benefits of traditional long-form practice are unquestionable. The connection with traditional materials (urushi lacquer and 24kt gold powders of differing grades) goes deep, and you cannot deny the beauty and refinement of a traditional repair. In addition to the fact that traditional repairs are the one type of ceramic repair practice that, if executed properly, is truly food-grade safe. Traditional repairs could be incorporated back into your kitchen as a working object again, whereas modern repairs generally cannot.
Key identifier of traditional repair:
Traditional materials (urushi lacquer) used from beginning to end. Usually finished with gold powders.
Pros:
complete embodiment of the philosophy of slow intentional repair
Respect and reverence for the time and dedication it takes to craft and source these precious materials
Heightened awareness of skill and craftsmanship
Strength and durability
Urushi lacquer provides an incomparable finish when handled with skill
Food-grade safe repair- if finished with 24kt gold or silver!
Cons
The cytotoxic nature of urushi lacquer prior to curing can cause allergic reactions, so safety is key
Traditional materials can be more unpredictable to work with
Specialty materials can be costly
Takes 5-6 weeks to complete one repair*
*I would like to acknowledge something important, which is that ‘cons’ like the amount of time it can take to complete a repair, can just as easily be considered a pro. The time it takes to complete a beautiful, complex traditional kintsugi repair is part of the point, as it adds value to the object.
When choosing which method to use there are a few questions you should be asking yourself
What is my current skill level? - If you are a total newbie, jumping right into a long-form traditional repair can be a little… daunting. What materials should I get and what can wait? Do I need gold, or will bronze do? These are all topics we will cover in our intermediate repair workshops, but in the meantime, it will make your life and your repairs so much simpler if you take a look at where you are at before you even begin.
What is the object being used for? - This is essential in understanding your repair approach. For instance, if the object you are repairing is not your favourite tea cup, but instead a vase or a little ceramic sculpture, you can confidently use a modern hybrid repair method, which is less costly and can take a bit less time. However, if you would like to incorporate the object back into rotation in your kitchen, a long-form repair using urushi lacquer is the better approach.
How much time do I have to dedicate to the repair? - I strongly recommend embracing the time it takes to really get stuck into a long-form repair. It’s so deeply engrained in the tradition of kintsugi repair to lovingly dedicate time and consideration to each step of the process, that we don’t want that aspect of the tradition to get lost. However, time is a precious commodity to all of us, and some practice is better than none at all. So if you only foresee yourself having a few precious hours in a weekend to practice modern repair, or a half a day to complete a modern hybrid repair, showing up for your practice is always preferable.
What kind of space am I working in? - This is an important one… Are you working at the kitchen table, or outside in your garden? Do you have a studio, or an office? Are you able to be reasonably undisturbed, or is this an activity that the whole family are in on? Each of these are significant in deciding what you are able to accomplish in the time you have. If you only have an hour or two undisturbed (which is a major win for most of us to get even a few precious minutes, let alone hours, each week) , completing a modern repair might be the way to go. Or getting started on your hybrid repair process is the way to go if you know you will have an hour each week to slowly work your way through. What you don’t want is to start your journey with urushi lacquer and 24kt gold (both costly and precious materials) only to find that your cat has walked through the lacquer and your toddler has spilled the one gram of gold that you could afford to buy.
Hey. I’m not trying to tell you how to live your life, just trying to be the voice of reason here.
Kintsugi repair doesn’t take a lot of space to practice, probably no more than the size of a restaurant placemat, but planning out where to store materials, how to safely handle them, and carrying out the repair at home takes a bit more mental real estate (see what I did there?). That’s why I am so excited to be offering intermediate kintsugi intensive days this summer. In one day at our studio, you’ll get 1-2-1 attention, completing a repair from start to finish using both modern and traditional materials. You’ll find out how to safely set up your at-home kintsugi repair station, and much more. Join the mailing list to find out when and where you can practice with us.
Can’t wait to see you there.
Love,
T.S.C.
