At Keijusha, two Japanese traditions meet: Yatsuo washi and katazome stencil dyeing. Yatsuo washi, developed in Toyama during the Muromachi period (1336–1573), was once used to wrap the region’s medicines, and when industrial production began to eclipse the local paper trade, Yatsuo native Keisuke Yoshida set out to preserve it. While recovering from illness in his hometown, Yoshida encountered the writings of Mingei founder Soetsu Yanagi and soon after met the celebrated stencil artist Keisuke Serizawa. Their collaboration united Yoshida’s expertisein papermaking with Serizawa’s bold designs, laying the foundations for Keijusha, established in 1960. Today the workshop produces washi paper boxes using katazome, where rice paste is applied through hand-cut stencils before layers of vivid color are brushed on, then washed and dried by hand.

London-based glass artist Isabella Kullmann works at the intersection of precision and instinct, treating her material as both responsive and unpredictable. Her path—spanning art history studies in Paris, a career in journalism and publishing, and an MA in Ceramics and Glass from the RCA—brings a narrative sensibility to her practice. In her hand-blown vases, subtle shifts in thickness and tone reveal the rhythm of making, while a pared-back aesthetic draws attention to light, proportion and form. 

Established in London in 2004, Michael Ruh and Natascha Wahl’s studio works at the edge of control, shaping optical-quality, recycled, hand-blown glassware chosen not just for clarity but for the way it catches and bends color. Their pieces carry animated palettes and incised lines, cut into the surface while still hot, each mark unrehearsed and permanent. There’ssomething of Bokuseki in it, that sense of immediacy. Each shade and tint is slowly developed with a master in eastern Germany, sometimes over 30 days, yet it’s the slight missteps and human rhythm that give the work its dreamlike charge.

Michèle Oberdieck doesn’t just work with glass; she coaxes it into bloom. A former textile designer turned glass artist, she brings a painter’s sense of color and a sculptor’s instinct for form to each hand-blown vessel. Her ombré glassware feels botanical, but not in a literal sense—more like the memory of a flower, or a petal caught mid-whirl. Trained and based in London, she’s drawn to the dance between fragility and strength, transparency and saturation. Swirls of pigment stretch across the curved surfaces of colored glass vases, each piece entirely one of a kind.