Interviews with Keiji Ishikawa

While working at a telecommunications company in Tokyo, I attended an Edo Kiriko workshop in 2015 to learn cutting techniques and independently researched hand polishing techniques. In 2019, I left the company and moved to Tokushima, where I established 'KJ Studio' to produce and sell Kiriko. Subsequently, I also acquired glassblowing techniques in Tokushima.

Driven by an inner urge to create new designs that bring healing to people, I became a designer.

The project's central theme is to bring healing and peace to people; for that, it is always about balancing with nature. The design motifs are first expressed in words and then visualized by hand. If the image is regular, it is refined through trial and error using illustration tools.

I felt great joy when the design motif was expressed in words that perfectly matched my envisioned image.

From a young age, I pursued the essence of things, which fostered a mindset that values harmony and balance with nature and shaped my foundation as a designer.

Currently, I design crafts using glass as a material, but my goal is to enrich people's hearts with the light that reaches their eyes. Therefore, I want to challenge myself with various materials.

It is about constantly seeking what is essential and new.

Immediately jot down any ideas that come to mind and review them later. Also, always consider the causes of small failures and improve upon them, facing everything with humility.

In the morning, I refresh myself by getting some fresh air and exercising while walking my dog. I spend the morning brainstorming ideas and focus on specific tasks in the afternoon.

I do not particularly adhere to design trends; instead, I aim to create new designs that reflect the world and people's hearts as they should be.

The story behind the creation of a design enriches people and fills them with healing.

Design is never complete and always has room for improvement. The time given to a design only marks a milestone.

The previously awarded designs 'Limpid Stream' and 'Elan Vital' are remarkable for their intended effects and the unexpected visual effects that can be felt when holding the designed glass.

No one in particular.

I have a studio in Shodoshima, Japan, surrounded by abundant nature, where I can gain inspiration for new designs.

I primarily work alone but also collaborate with other organizations on projects. During collaborative work, I strive for creative and constructive exchanges of ideas.

I offer affordable Kiriko workshops and classes, striving to spread the beauty of Kiriko.

The benefits of participating in contests are as follows:

・You can announce the international recognition of your design.

・You can build your career.

・It helps you acquire skills to challenge new designs.

The main inspiration is the relationship between the sun and the sunflower, specifically the Fibonacci spiral found in nature. The breakthrough came when I watched my daughter Ree, a paint dancer, physically manifest this sequence by synchronizing her movements with Fibonacci numbers. Seeing this inspired me to transpose this blend of mathematical law and organic asymmetry onto Kiriko glass.

My main focus was on expressing an organic fluctuation that resists simple geometric repetition, even while following strict mathematical laws. Instead of relying on traditional Kiriko grids, I aimed to recreate a living trajectory by maintaining the Fibonacci count while manually adjusting each cut.

The design is currently being applied for registration and will receive copyright protection for registered designs in Japan in December 2027. Following that, in line with KJ studio's mission, I plan to expand this beautiful design across items like wine glasses, soba cups, and rock glasses to enrich users' daily lives.

The project took about three months. It started in December 2025 in Tokushima, Japan, and was finished in February 2026.

It was driven entirely by my personal inspiration. I was deeply fascinated by the beauty of the Fibonacci spiral in nature and its physical expression through my daughter's dance. This created a strong desire to bring this complex form to life through my own medium of Kiriko glass.

As a sole proprietor running KJ studio, I will manufacture this design myself. Each piece is carefully ground and polished by hand using traditional Japanese Kiriko cut glass technology.

True to the meaning behind "KJ"—Kiriko J'adore, meaning everyone comes to know and love the beauty of Japanese Kiriko—I want people to use beautiful glassware daily. By infusing the vitality of the "Spiral of Life" into everyday tableware, I believe I can deeply enrich people's daily lives.

Rather than other product designers, I was most profoundly influenced by my daughter Ree, an artist and paint dancer. Her kinetic physical expression breathed life into this glass design.

The target audience includes people who seek artistry and beauty that harmonize with the laws of nature in their daily living spaces. It is for anyone who loves the fusion of traditional Japanese craftsmanship with a mathematical, contemporary approach.

Its ability to express "organic asymmetry" is highly difficult in traditional Kiriko. The streamline motifs, executed with wide-angle V cuts, create complex layered intersections through refraction when viewed from the side, while maintaining a profound harmony from above. This dynamic interaction of light and geometry is its standout feature.

The design is named "Spiral of Life." The name signifies the mystery of life inherent in nature's Fibonacci spirals, capturing a rhythmic and engaging experience that truly mimics a living pulse on the glass.

Alongside the mathematical calculations used to determine the spiral ratios (such as 8:13 and 13:21), the actual physical creation relied entirely on the traditional hand tools of Japanese Kiriko cut glass technology—grinders and polishers—blending manual sensation with precision.

The "hybrid approach" fuses the strict mathematical rules of the Fibonacci sequence with intuitive, manual fluctuations. By not relying on standard grid guidelines and manually adjusting each cut's trajectory, it achieves a unique balance of both reproducibility and a sense of living vitality.

At the inspiration stage, I collaborated with my daughter Ree, a paint dancer. Sharing the visual and physical principles of the mathematical sequence through her kinetic movements was an essential part of figuring out how to transpose these complex spirals onto glass.

Rather than modern digital technology, the "craftsman's technology" of traditional Japanese Kiriko cut glass played the most critical role. Only through these time-honored hand-grinding and polishing techniques can the beautiful refraction and complex intersections of light be realized.

Yes, I conducted extensive research to ensure both visual balance and mathematical integrity. To draw a true Fibonacci spiral, I calculated and verified the optimal pairings of clockwise and counterclockwise cuts (such as 8 to 13 or 13 to 21) based on the specific diameters and curvatures of the glass.

The biggest challenge was establishing a specialized system through rigorous prototyping. I struggled with the precise scaling required to maintain the "Spiral of Life" proportion across the entire collection. This meant adopting an 8-to-13 ratio for small sake cups, a 13-to-21 ratio for larger wine glasses, and meticulously integrating an 8-to-13 spiral on the bottom of vessels with decorative bases, such as soba cups.

Having been fortunate enough to win awards at an international design competition for six consecutive years, I felt a strong desire to see how this entirely new challenge—fusing mathematics with organic nature—would be evaluated on the global stage, as it represents a highly universal concept.

I learned firsthand how precise and beautiful the laws of nature truly are. Furthermore, I grew significantly as an expressive artist by realizing the essence of design: that true vitality is imbued not just by tracing a geometric pattern, but by thoughtfully adding the subtle "fluctuations" of the human hand.

The true appeal of this work cannot be fully conveyed through static images alone. We have prepared a video showing the glassware in rotation, highlighting how light, shadow, and the intricate Kiriko cuts intersect. I highly encourage everyone to experience the "Spiral of Life" concept through this video, where the dynamic shifting of patterns truly mimics a living, beating pulse.

While working at a telecommunications company in Tokyo, I started going to Edo Kiriko studios in 2015 to learn cutting techniques and independently study hand polishing techniques. In 2019, I left the company and moved to Tokushima to open "KJ Studio," which produces and sells Kiriko. After that, I also learned glassblowing techniques in Tokushima.

Because I love coming up with new designs.

I chose to become a designer myself.

I am developing designs for cuts to be put into glass products. I want to create new designs that heal people.

Continue to have the orientation to seek out new things and pioneer new designs.

A good designer gives people a sense of security, and a great designer gives people a sense of security as well as a hint at a new stage in the future.

The story that the design is created from should enrich people.

Good design is worth investing in because it enriches people's lives and fills them with healing.

I want to design something cut into all the glass products around us for someone special to each of us.

We are currently considering it.

Whenever I think of something, I write it down and review it later.

No one in particular.

I'm interested in designs that use light effects to make people happy.

My previous award-winning designs are great because they have unexpected visual effects that you feel when you hold the glass in your hand.

I think it's always about seeking something essential and new.

Some artisan.

Design means something new that innovates our daily lives.

My wife is my supporter.

Being humble about everything.

Nothing in particular. Even when problems arose, I didn't think of them as big an issue and solved them as they came.

I think it's essential to explain the story behind the design in an easy-to-understand way.

We are currently considering it.

To establish a method and train successors.

To make life more prosperous and more healing.

Yes, I think so.

I can't say anything specific, but I'm considering some new projects.

My previous award-winning designs are great because they have unexpected visual effects that you feel when you hold the glass in your hand.

I think we will see more design experiments with the help of generative AI.

I think it will become more segmented, and systems will be implemented to guarantee the originality of designs.

One week to 1 month.

I checked the users of the design and the design concept.

I am constantly being humble and always seeking new things.

It can be both.

It helps to broaden the scope of design and speed up its implementation.

When I use a lot of repeated patterns, I use image editing and spreadsheet software.

They are essential elements that create a sense of comfort and healing for people who touch and enjoy the design.

The story behind the design and the visual and sensory effects of the design.

Imagine the concept image that the design is aiming for.

I don't have one at the moment, but I think it would be fun to work with someone like that in the future.

No one in particular.

Nothing in particular.

I have always thought about the cause of even small mistakes and improved them.

I want to talk with people I can speak to creatively and constructively.

I am very honored to receive awards, and my increased recognition has positively affected my work.

I like pale colors, the sea, vegetables, autumn, glass crafts, etc.

I can't think of any stories to share here.

It is very encouraging to start making plans to start doing things that I didn't have time to do before.

We will experiment with design, partly with the help of generative AI.

In 1000 years, we will still be designing with more advanced devices and tools.

Nothing in particular.

Since childhood, I have thought about things that give people heartwarming emotions. So, whenever and wherever I can, I have been creating something new.

The "KJ" in "KJ Studio" stands for "Kiriko J'adore," which means that everyone should know and love the beauty of Japanese cut glass, "KIRIKO." I would be very happy if you used glass in your daily life.

Design means something new that innovates our daily lives.

I like new objects that innovate our daily lives.

New objects bring interesting visual effects that refresh people's minds and give them a sense of security.

I made a cut glass with a " Wind " design on a rock glass.

My favorite materials are multi-layered glass and blown glass.

I feel most creative when seeing beautiful scenery or listening to inspiring music.

Novelty and balance.

The concentration to create something new.

When I create something good, I feel a sense of satisfaction.

The quality and timing of inspiration.

The natural expression of the concept and balance.

To create something that makes people happy.

I believe design grows and evolves in symbiosis with people.

It was in Tokushima in May this year. If I have the opportunity, I would also like to hold it in Tokyo.

I think design inspiration comes from the orientation to seek the truth of things.

The center of my design style is warm interaction and peace between people. To achieve this, I am always pursuing fundamental design.

I live in Tokushima, Japan, and have a second home in Shodoshima. The area's natural scenery and cultural heritage sometimes inspire my designs.

Companies ask me to make various custom-made products.

We suggest original and innovative designs to companies while following their requests. Companies are looking for designers who can create creative designs.

We consider several ideas and their developments based on an idea that inspires us and then select one.

Wine glasses, rock glasses, plates, tumblers, and lampshades.

Morning coffee, an early morning walk with the dog, thinking about ideas, a delicious lunch, working on Kiriko, an evening walk with the dog, and a nice dinner with my wife and friends.

Trust your sensibility. Accept all the good and bad things around you and sublimate them into ideas.

The good is being able to reproduce the creations you have thought of. The bad thing is the risk of losing vital essence because you cannot document the design.

Attention to balance.

Orientation towards always moving towards new things.

A notebook where I quickly jot down any ideas that come to mind.

I always set aside a block of time.

1 week to 1 month.

What drew you to Kiriko?

Custom-made work for a company.

Customers are looking for gifts for special people, companies are looking for exceptional interiors, etc.

We are working to come up with new designs.

I aim to apply Kiriko to various glass products we see around us.

I currently develop my own designs, but I would like to work in a team.

Not at the moment.

You can contact me by email or through the comments section on our website.

Nothing in particular.

I was experimenting with expressing the flow of water by arranging streamlined droplets. I eventually arrived at a design where I rhythmically layered what I call "cat's pupil patterns" with fine, streamlined cuts, leaving small and large gaps. In kiriko glass cutting, layering numerous intricate cuts is essential to achieve a balanced arrangement. However, as no preliminary sketching is possible, it requires years of craftsmanship to maintain balance while executing the cuts skillfully. The result was the creation of a fantastical visual effect.

The "cat's pupil pattern" was inspired and designed while exploring droplet shapes necessary to express water flow. The cutting angles of the grinding wheel attached to the kiriko glass-cutting machine were precisely calculated to cut this cat's pupil pattern. Since standard commercial products couldn't accommodate the required specifications, a specially customized grinding wheel was ordered from the manufacturer.

The shape of the "cat's pupil pattern" changes depending on the cutting angle of the grinding wheel. Therefore, simulations were conducted in advance to analyze the grinding shapes at different angles. By arranging these simulated shapes, extensive trial and error was undertaken to determine how the overall design balance would be affected. Through this process, the most optimal wheel angle was derived.

This two-layered glass is crafted with a transparent inner layer and a thin-colored glass layer on the outer surface. Using a grinding wheel to shave the surface, the colored glass is removed, exposing the transparent glass beneath. At this stage, the ground transparent glass takes on a frosted appearance. It is further polished with several polishing wheels to restore transparency, resulting in a beautifully shimmering kiriko glass.This design consists of a collection of numerous "cat's pupil patterns," and each ground pattern must be carefully polished individually. This process demands significant patience and concentration to achieve the desired result.

Arranging the "cat's pupil patterns" like a jigsaw puzzle and intentionally leaving certain pieces unfilled in a regular pattern achieves a pleasantly rhythmic beauty. Furthermore, to make the drink's color visible when poured, it was necessary to maximize the size of each piece and increase the transparent areas. To accomplish this, the gaps between adjacent patterns were meticulously minimized through delicate cutting, achieving a harmonious balance of aesthetic appeal and practical functionality.

The "cat's pupil pattern" consists of two elongated, streamlined shapes arranged in pairs. Since many aspects of human anatomy are structured in pairs, the paired design resonates well with human sensibilities. This repetition of patterns evokes a sense of meditative tranquility and peace that feels pleasing to people. This design has been seamlessly incorporated into everyday glassware, making it functional and aesthetically harmonious.

When cutting with the grinding wheel, the shape of the "cat's pupil pattern" changes depending on the curvature of the glass surface. However, to maintain the alignment of the paired patterns and the relationships between pairs, the number of divisions for the concentric arrangement of the paired patterns is adjusted. This approach allows the design to adapt seamlessly to various types of glassware.

In two-layered glassware, the colored glass tends to become thicker toward the bottom. Shallow cuts in this area need to be ground sufficiently to expose a more significant transparent portion. Consequently, shallow cuts near the bottom may result in overlapping grinding sections between adjacent patterns. To achieve a smooth tactile finish, optimal adjustments were made to applying the polishing wheel, ensuring a seamless and refined texture.

Traditional kiriko cutting techniques often feature sharp, deep, and bold cuts, along with numerous fine, straight-line cuts. In contrast, this design consists of an assembly of small, shallow fundamental patterns, which opens up the potential for various thematic applications through different combinations. Additionally, the shallow cuts create fascinating effects, such as the sparkle of transmitted light from the side of the glass and the intricate brilliance of reflected light when seen from above. This style could evolve into one of the genres of modern kiriko design, offering a fresh perspective on this traditional craft.

Using a customized grinding wheel to make cuts efficiently, the work can be carried out with minimal machine power, emphasizing environmental sustainability. Additionally, this design is highly adaptable to various types of glassware and can sustainably evolve to fit future glass designs, reflecting a focus on cultural sustainability. Moreover, this design's balanced cuts and meticulous polishing are grounded in traditional handwork craftsmanship. This approach is intended to be carried forward, ensuring the continuation of these time-honored techniques.