My Thoughts on Creative Glass Art Exhibition in Ginza (June 13, 2006)

Michiko HATADA

     When I held my personal glass art exhibition in 2004 in Ikeda City where I live, I was extremely glad to know that it was well received. People around me said to me, "HATADA-san, you must hold your exhibition in Tokyo next time," "Please be sure to hold it in Tokyo," and "The place should be in Ginza if you ever plan to hold it in Tokyo." So the talk became so lively that my glass art exhibition in Tokyo has turned into a reality with the cooperation of all concerned virtually in no time while blinking an eye. Although Tokyo is not much of my territory and there may be many who have a discerning and critical eye, I decided to challenge the idea at any rate by holding the exhibition in Tokyo, with a mixed feeling of expectations and fears.

     I was so glad to hear in particular that the Japan Romanian Exchange Association was quick to offer its cooperation, suggesting that we should call on the Romanian Embassy and the Romanian Tourist Office to seek their cooperation. I promptly went to Tokyo and visited the Romanian Embassy. Although it seemed that the Ambassador of Romania to Japan did not have a good understanding of the circumstances, he began to show much interest after I told him that I had visited Buzau, a town well-known for glass art work in Romania, and seen many glass ateliers there. The Ambassador then gladly agreed to offer cooperation. Furthermore, the Ambassador, understanding my enthusiasm for creative glass art, gave me a letter of recommendation at once. So I felt confident as if I had already gained very strong friends on my side.

   I am often asked by people around me, "Why does Romania have anything to do with glass art?" The fact is that at present there are very few laminated glass artworks being made with sandblasting techniques like the type of glass artwork I am making now. One hundred years ago, many excellent artworks were created by the renowned French glass artist, Emile Galle. Although his atelier declined after his passing, laminated glass artworks have been being made in Romania after Galle's style. Romania is thus considered as the root of laminated glass art. It is told that the techniques used by the artisans of Galle's atelier are based on the techniques of Romania.

     As a glass artist creating laminated glass artworks, I consider it a great honor to be able to cooperate with Romania, the country which has a long tradition in this glass art.

     On the first day of the exhibition that fell on Monday, May 15, 2006, a large bouquet of Casa Blanca lily arrived and fostered a delightful atmosphere. Pink-colored pretty flowers of horse chestnut trees (called "marronnier" in French) were also blooming at their best on the street lined with horse chestnut trees and thus named "Marronnier Street" in Ginza, boosting the welcoming mood. The very first group of visitors were many members of the Tokyo Chapter of Yuko-kai which is the Alumnae and Alumni Association of the Faculty of Literature, Osaka City University where I graduated from.

     In the evening His Excellency Aurelian NEAGU, the Ambassador of Romania to Japan, came and spent some time looking at the exhibits intently. After that we all went to a nearby hotel, and held a dinner party in celebration of the opening and in hopes of finishing the exhibition with success. The Ambassador took a very friendly attitude, and we all enjoyed talking about the untold stories of Romania and other subjects related to culture. A few days later the Ambassador sent to the exhibition Mr. Alin IVANOV, the Secretary in charge of culture and press affairs. Mr. IVANOV said to me, "Your artwork is entirely different from that of Romania. I hope you will hold your exhibition in Romania next time by all means. They are all your original work of art." I am not sure whether I can respond to his request, and whether I can make my exhibition possible there remains to be seen.

     As may be expected of Greater Tokyo, not only the Ambassador but also a wide variety of people like statesmen, government officials, novelists, artists, scholars and company presidents visited the exhibition and cheered me up. I greatly appreciate receiving many comments and opinions from them which would be useful for me in the future, and thought it was worth coming all the way to Tokyo even by making extra efforts.

     Of course, there were also various kinds of visitors. For example, as I was offering a few items of the exhibits for sale at the wish of the Gallery, some people came to buy them. Although I wanted them to see the main pieces of my artwork, these people were in a shopping mood. One of them said to me, "I would very much like to have this. Could you give me a little lower price?" She was so insistent, and would not leave. So finally I gave in, and accepted her bid price. She seemed to be a middle-aged lady from outside Japan. A true-born Osakaite as I am, I must admit my defeat over this negotiation. Then I really felt that the Japanese is a poor negotiator. When I said to the lady, "Please treat it with extra care since I gave you a very good price," she responded by saying, "Yes, I will do so as you gave me a chance to get it." She left in a happy vein. She must be by getting a good discounted price for the best piece of my artwork. She must have a good discerning eye. I should take off my cap on my part. At any rate, I should be grateful to her for buying my artwork.

     As I sold the picture postcards of my artworks at the exhibition, I will donate proceeds from them by way of charity to Romania through the Romanian Exchange Association, which I think will be used effectively because commodity prices in that country are said to be about one-tenth of commodity prices in Japan.