The main working methods of qīqíqǐqì Studio grow from an ongoing exploration of materials and processes. The works often begin in an experimental state: kneading, wrapping and compressing paper and fabric, then binding the forms with multiple layers of natural lacquer, allowing the softness of fibres and the strength of lacquer to interlace and set.
The making process emphasises bodily experience
and manual intuition. Each work unfolds without a predetermined outcome, shaped by touch, pressure and the material’s own resistance. Forms emerge through repeated handling, yet open to chance, interruption and change.
Natural lacquer is derived from the resinous sap of the lacquer tree, a renewable natural resource. It is known as urushi in Japan, while in China it is called qī, pronounced “ch’i” [漆].
Used to make both furniture and vessels, lacquer is built up meticulously on a prepared substrate in multiple thin layers. Each layer must be carefully applied, dried, and polished. It cures slowly in a warm, humid environment, demanding more than 24 hours of patience. The finished object demonstrates remarkable strength and durability, with exceptional resistance to water, acids, alkalis, and abrasion.
Lacquer objects have been made in East Asia since prehistoric times. They were exported to Europe from the late 16th century onwards.
We apply natural lacquer to different papers and textiles to observe how fibres respond to the material.
Through these tests, we explore how lacquer interacts with fibres, revealing new textures and structures.
The lacquered papers we produce are carefully selected through repeated experimentation, forming the material foundation for our objects and future applications.
qīqíqǐqì writes through natural lacquer, unfolding as an ongoing record and extension of its practice. It brings together creative narratives, artist journals, and material experiments, while gradually reflecting on craft traditions, cultural origins, and existing systems.
Here, materials become the starting point for perception and the generation of narrative. Through writing and organisation, these processes are made visible and continually reinterpreted.
