A Harmony of Bone & Leather: The Dialogue of Mixed Materials by Yuki Nara X Poltrona Frau

Upon encountering a space where the artwork and environment harmonize, one feels as though they are deeply sinking into that space. It isn’t the sharp, short wavelengths emitted by the artwork in isolation, but rather resembles a cloth floating on the water as it gradually sinks while absorbing moisture, creating a heavy, long, and comforting wavelength.

This sensation was one I felt when the ceramic work "Bone Flower" by artist Yuki Nara was displayed on a specially arranged pedestal by the Italian furniture brand Poltrona Frau.

We spoke with Nara, who balances his dual roles as a ceramic artist and architect based in Kanazawa, about his dedication to leather.

The Fusion of 350 Years of Ohi Ware & Contemporary Art

In Kanazawa, Ishikawa Prefecture, there is a kiln with a 350-year history known as Ohi ware. The fifth lord of Kaga Domain, Maeda Tsunanori, invited the tea master Senso (the fourth generation of Urasenke) from Kyoto in 1666, alongside a ceramic artist named Ohi Chozaemon. Chozaemon remained in Kanazawa and became the first in a lineage that continues to this day, with Yuki Nara being the artist who is the son of the current eleventh Ohi Chozaemon, Naru.

Nara’s works set themselves apart from traditional crafts. Although he is in line to inherit the twelfth generation, he is also an active architect. In contrast to the warm, hand-turned creations of traditional Ohi ware, characterized by an amber hue, Nara’s works are designed using CAD and made with cow bone ash, showcasing an inorganic and luminous white. The pedestal for this collaboration with Poltrona Frau features beautifully textured cowhide.

"To begin with, I was a fan of Poltrona Frau."

Nara expresses. Poltrona Frau is a luxury brand founded in 1912, known for its soft high-quality leather, "Pelle Frau," and products made from the finest natural materials by skilled craftsmen expert in woodworking and textiles. Their products have adorned the interiors of hotels, museums, airport lounges, and luxury vehicle seats around the world.

"They are the kings of Italian furniture, and I was impressed with their collaborations with architects. For example, I once saw Zaha Hadid's architecture in Hong Kong; all the furniture there was Frau's."

After a four-year period of shared enthusiasm and collaboration, they realized this project with themes integrated into the pedestal, stemming from a latent demand for presentation in art pieces.

"Often when we acquire artworks, we are asked to include a display pedestal as well. Stylish pedestals are rare, and mostly, only plain white rectangular ones are available. When I presented this to Frau, they felt the potential, which led to realization. In architecture, we also consider the surrounding environment relatively. By taking responsibility to design with the surrounding environment in mind, I feel that ceramics can transition to the next phase."

Nara’s Bone Flower comprises multiple plates layered like wings. Below it, the gracefully curved Poltrona Frau pedestal in gray supports it. Like its name, Nara’s ceramic evokes a sense of tranquility following the passage of life, while the leather pedestal from Poltrona Frau feels like a body encasing the bone, creating a beautiful connection between the two when combined.

"I intended to highlight differences through contrasts in materials. Bone and leather have a strong affinity, and the fact that both bone ash and leather are derived from cattle is really interesting to me. The act of using materials not created by humans to craft something beautiful, it was important for me to complete this project as it transcends nations and cultures."

Cultural Differences Between Japan & Italy

In this collaboration, the design of the display stand was done by Yuki, which was then complemented by the craftsmanship of Poltrona Frau.

"The height of the display stand is about 90 centimeters, while the leather width is probably around 70 centimeters. The artisans pull and stretch the leather tightly to attach it. I think you can feel the leather's tension more clearly when you touch the display stand. The reason for this was to give expression to the leather."

When handling beef leather, you don’t usually sense the distinct characteristics of each part. However, originally beef leather should have varied expressions depending on the area it comes from.

"For example, the armpit is always closed, so it has delicate patterns, while the back is pulled taut due to its roundness, resulting in a different texture. When making leather, these features are generally smoothed out. In other words, it’s ‘tanned.’

"This is the industrial product form of leather, but because I am creating works using clay, a natural material, I believe I need to face the lifecycle of the cattle, and I wanted to visualize this. How can I bring out the expression of the cow? By pulling the leather tightly. Then it starts to show itself."

On the other hand, the challenge faced between Japan and Italy arose from the hues. The values associated with art differed between the two countries.

"It became a significant topic of discussion. In the relationship between the display stand and the artwork, when a Japanese person designs the display stand, I think the approach is to keep the colors more subdued to make the artwork stand out, or to calm the shapes of the display stand to highlight the piece.

"Conversely, in Italy, both elements assert themselves, enhancing each other. The initial hues were vivid, and the display stand had a presence that overshadowed the art itself."

The wall of differing values lay before them. Despite maintaining communication between Japan and Italy, it was ultimately face-to-face interactions that led to resolution.

"I had the opportunity to talk directly with the Frau team in Italy. It was there that we finally began to understand each other's intended meanings. I think Frau had the desire to battle with the art, but we realized it was not about that; we wanted to cooperate in a harmonious relationship, and this understanding developed over time."

Poltrona Frau not only collaborates this time but also plans to unveil a collaboration between bone flowers and lighting at the 2026 Salone del Mobile in Milan, one of the largest furniture fairs in the world. Additionally, Yuki has previously collaborated with the German furniture brand Rolf Benz. Why attempt to bridge architecture, ceramics, and different fields?

"I feel that there is a hierarchy and customs in every field. Regarding ceramics, perhaps because I grew up in such an environment, I feel that there are traditions and origins that dictate it, which has reduced the number of young students aspiring to ceramics.

"Therefore, rather than just combining different elements for enjoyment, if I can provide a new way to present ceramics to society, and create a roadmap that I can engage with throughout my life, I believe more talents will enter the ceramics industry, and there will be an increase in people exploring various forms of pottery."

Even with differing fields lined up in his mind, it seems he does not switch off during the creation process.

"Nothing has changed in terms of creating things. When I'm doing pottery, I often feel like I'm also working in architecture, and vice versa. Within the flow of creating things, there are coincidentally large objects (architecture) and small objects (pottery). I'm not consciously drawing a line between them; I leave it to nature. When I'm drawing plans on my PC, I'm thinking about pottery, and often, doing completely different things gives me new insights."

The Expo 2025 Osaka, set to open in April, will showcase a Bone Flower sculpture that stands 3 meters tall and 2 meters wide.

"I'm aiming for something that looks like pottery even though I'm doing architecture, and looks like really large pottery even though it’s architecture. The Bone Flower at the Osaka Expo is a piece of public art made from metal processing. At that point, it can't really be called pottery anymore, right?"

Where am I aiming?

"If I had to compare it, it's like mixed juice. Until now, I was just adding architectural syrup to tomato juice. But now, I want to mix in various fruits and blend it all together. That can be both, right? I want to create an image that has never been seen before."

Out of a multifaceted perspective arises creation. The bones, turned into soil, bloom new flowers.