top of page



池田 晃

​いけだ てるまさ 


工藝美術家         Artist

1987 千葉県出身

2014 金沢美術工芸大学 工芸科 漆・木工コース  卒業

2016 金沢美術工芸大学大学院 修士課程  修了

2019 金沢卯辰山工芸工房  修了

現 在    金沢市内にて独立 

1987 Born in Chiba, Japan

2014 B.A., Kanazawa College of Art, Kanazawa

2016 M.A., Kanazawa College of Art, Kanazawa

2019 Completed Kanazawa Utatsuyama Kogei studio, Kanazawa

Pres-   Established studio in Kanazawa city



2014 「池田 晃将 漆展―極小の装飾―」

     Café&gallery Musee 石

2015 「池田晃将ー漆加飾の小細工展ー」

​    伊勢丹新宿本店5階ウエストパーク 東京

2019 「電光装飾-Cyber Effect-池田晃将漆芸展」

     日本橋髙島屋S.C6階美術工芸サロン 東京

2020 「池田晃将漆芸展」 しぶや黒田陶苑 東京

2021 「池田晃将の螺鈿」 銀座一穂堂 東京

2021 「池田晃将展」新風館 京都

2022 「池田晃将展」日本橋髙島屋

2023 「Terumasa Ikeda: Iridescent Lacquer」

             Ippodo gallery NY アメリカ

2023 「虚影蜃光- Shell of Phantom Light」

     金沢21世紀美術館 デザインギャラリー 石川

2023  「池田晃将展」 しぶや黒田陶苑 東京 



2014 「Epoch Garden」金沢市問屋町スタジオ 石川

2014 次世代工芸展」 招待出品 京都

2015,16,17 「池田 晃将 ―漆加飾の小細工展―」


2016 「生新の時」輪島漆芸美術館 石川

2017 Asia art contemporary Singapore/

         Suntec Exhibition Centre SINGAPORE

2017 「結晶する漆」—Essence of URUSHI—日本橋三越 

2018 「なつめ」しぶや黒田陶苑 東京

2018   秋元雄史監修「もう一つの工芸未来派」

             銀座和光和光ホール 東京

2018 KOGEI Artfair(以降2019,2021,2022) 石川

2018 Art Expo New York /Pier94 U.S.A

2020 特別企画和巧絶佳展−令和時代の超工芸−」


2021 「工芸的美しさの行方」日本橋三越 東京

2021 「《十二の鷹》と明治の工芸」国立工芸館 石川

2022 「工芸の表現四人展」 銀座和光和光ホール 東京

2022 「ジャンルレス工芸展」国立工芸館 石川

2023 「ポケモン×工芸展 美とわざの大発見」

                   国立工芸館 石川

Solo Exhibitions

2014 Microscopic Decoration/ Musee,Kanazawa

2019   -Cyber Effect-Terumasa Ikeda Solo show/

​                                         Nihonbashi Takashimaya, Tokyo

2020  Terumasa Ikeda Solo show/Shibuya kurodatoen,Tokyo

2021  Terumasa Ikeda Solo show/Ginza Ippodo gallery, Tokyo

2021  Terumasa Ikeda Solo show/Shinpukan gallery, Kyoto

2022  Terumasa Ikeda Solo show/

                                          Nihonbashi Takashimaya, Tokyo

2022  Terumasa Ikeda: Iridescent Lacquer/

                                                     Ippodo gallery NY

2023  Shell of Phantom Light/

       21st Century Museum of Contemporary Art,Kanazawa

2023 Terumasa Ikeda Solo show/Shibuya kurodatoen,Tokyo


2017   Asia art contemporary Singapore/

                                   Suntec Exhibition Centre SINGAPORE

2018  Art Expo NewYork,USA

2020  [WAKOZEKKA] Contemporary Japanese Crafts/

                           Panasonic Shiodome Art Museum,Tokyo

2021  Twelve Hawks and Crafts in Modernizing Japan/

                                       National Crafts Museum, Ishikawa

2022  Genreless kogei/  National Crafts Museum, Ishikawa

2023  POKÉMON X KOGEI Playful Encounters of Pokémon                and Japanese Craft/ National Crafts Museum, Ishikawa

 「螺鈿 本質としての表層」





橋本麻里​ 著

「かざる日本」岩波書店、2021年、181頁「螺鈿 本質としての表層」より抜粋ー

The Past Meets the Present: Terumasa Ikeda's Lacquerware

Deborah A.Goldberg

 March 2023

With great virtuosity, Terumasa Ikeda transports lacquerware into the 21st century. He bridges the past and the present by using the same raden technique and materials employed by prior lacquer artists: urushi, hinoki wood, mother-of-pearl, and gold leaf.Breaking from tradition, he utilizes digital technologies to laser cut the abalone shell, lay out his design, and to cut the wood.A computer numerical control (CNC) machine, a reverse 3D printer, draws the shapes out of the solid hinoki. The final design is all meticulously placed by hand.


Ikeda has developed variations on universal symbols - Arabic numerals. Random patterns of numbers and abstract forms, which glow in a colorful spectrum against a black background, evoke computer screens, streaming LED lights, circuit boards, or miniature versions of the Mega Screen at Broadway's Times Square or the neon lights of Tokyo's Shinjuku. The numbers appear to move as through their spiraling designs on the curvilinear containers. Sometimes the numbers or abstract patterns of distended numerals part to create abstract black voids that look like whirlpools or bodies of water seen from an aerial perspective. The broad application of golden numbers recalls traditional makie. Gold detailing around the edges of some of Ikeda's boxes become trompe l'oeil chains.


While Ikeda's obiects are meant to serve the same age-old purposes - to store tea and incense - he makes ultra-modern, streamlined, and geometric containers. With his pyramidal boxes, made possible by the CNC machine, he has added a new form to the lacquer canon. Ikeda's workspace in Kanazawa, a refurbished machiya or historic wooden townhouse, echoes his unique blend of the old and the new.


Ikeda states: "For a long period, Japanese decorative art based its designs on graceful images of the seasons, poetry, or songs.However, my work uses a shared image of the vast quantity of information that exists in the present day, and which cannot be expressed in traditional ways. It is difficult to employ the techniques and aesthetics that have been passed down from the past to create an eternal beauty, but I believe that by reflecting the 'now' I am continuing the tradition." [1]


Ikeda, born in 1987, represents a new generation. In the 19th century, Shibata Zeshin (1807-1891) changed the course of lacquerware by adding new finishes to emulate different materials. By exhibiting at international expositions, he was discovered by the West by the end of his career [2]. Through his unique methods, animated designs, and technical wizardry, Ikeda is the Zeshin of our time and should equally delight a Western audience with his first New York show.


1."The Raden of Terumasa Ikeda," Tokyo Ippodo Gallery, July 2021

2.Barbara Brennan Ford, "The Arts of Japan," The Metropolitan Museum of Art Bulletin (Summer 1987). 55.


※I have included the above text with the author's permission from the pamphlet of my solo exhibition "Terumasa Ikeda: Iridescent Lacquer," held at Ippodo Gallery New York in 2023. Please do not reproduce it without permission.   

bottom of page