The workbench in Azusa Fukushima’s studio in rural Ibaraki, north-east of Tokyo, is her own invention, proportioned exactly so that thread can be pulled taut against her own weight. Cotton – dyed with natural Japanese indigo, persimmon, or madder – is bound around stalks of dried sorghum grass. With each stitch, the bundle finds its shape: a classic “clam”, or hamaguri-gata, which echoes a spray of sorghum. The result is an object of natural and utilitarian beauty, appreciated by a growing community of makers and buyers from east London to LA.
在福岛梓(Azusa Fukushima)位于东京东北部茨城农村的工作室里，其比例精确到可以在她自己的体重下将线拉紧。用天然日本靛蓝、柿子或茜草染色的棉花绑在干高粱草的茎秆上。每一针，布包都找到了它的形状：一个经典的“蛤蜊”，或蚬子，与高粱的波纹相呼应。其成果是一件自然而实用的艺术品，受到从东伦敦到洛杉矶越来越多的创作者和买家的喜爱。
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