When Ken Fujimoto encounters wood, he listens closely—shaping it not by force, but in harmony with what it wishes to become. Each piece is born from this quiet dialogue, and over the years, many have found their way into our hands.

It has already been ten years since this serendipitous connection began.

This exhibition will feature many works centered on the gajumaru tree, a motif that has come to symbolize Fujimoto-san's artistry. His generous, open-hearted approach to craftsmanship—unchanged since our earliest days working together—shines through these pieces, and we are truly delighted to share them with you.

As the season stirs memories of Okinawa’s humid breezes, we warmly invite you to visit us.

Exhibition Period
May 30 (Fri) – June 9 (Mon), 2025
Closed on every Wednesday
Open from 13:00 to 18:00

Artist in Gallery
Ken Fujimoto will be present on Saturday, May 31.

Venue
AMAHARE
@amahare_shirokanedai
5-5-2 Shirokanedai, Minato-ku, Tokyo
TEL: +81-3-3280-0766
E-mail: info@amahare.jp

Reservations
No reservation required. Please feel free to visit at your convenience.

Online Sales
Online availability is currently undecided.
We will announce further details via our social media and newsletter.

Photo / Eri Masuda @massu_90
Styling / Megu Okazaki（AMAHARE）
Text / Kenichi Kaneko（AMAHARE） @amahare_kaneko

Tabibito no Ie

“I’ll be a little late delivering new pieces—I’ve started building another guesthouse.”
It’s not often that we receive a call from Ken Fujimoto, but when we do, it usually begins with something along the lines of, “I’m planning to build something by hand,” followed by, “so I may not be able to send any new works for a while.” (We smile every time.)

Ordinarily, such news might be met with concern—No new works for a while? Oh no…—but with Ken-san, curiosity always wins out. What kind of space is he creating this time? His charm lies in that very anticipation.

In February this year, we received the joyful news that his new guesthouse, Tabibito no Ie—The Traveller’s Home—was completed. We couldn’t help but think, We’d love to stay there! At the same time, we were relieved and grateful to know that this year’s exhibition could move forward as planned.

Gentle Ease

There’s a gentle ease in every exchange with Ken-san that is deeply comforting.

For this exhibition, we are delighted to present not only the gajumaru (banyan tree) piece featured in the main visual, but also new rust urushi works—each one arriving with a growing sense of depth and quiet power.

What stood out during the last exhibition was the remarkable number of chefs who visited. From all culinary backgrounds and styles, they seemed drawn to his work. Perhaps it’s because Ken-san’s pieces carry a unique softness—an embracing calm that resonates beyond form or function.

The New

Making its debut in this exhibition is a slightly deeper plate—a new addition to Ken-san’s collection.
When we asked if it was a new design, his reply was characteristically honest and lighthearted:
“I just wanted a deeper plate for myself, so I made one!”

It’s a truly wonderful piece, and we hope you’ll take the time to see it for yourself.

The Timeless

Yes—Ken-san has always had a quiet, natural presence.
From the time we first met, nearly 15 years ago, he has steadily followed his own path, with calm intention and without pretense.

His approach to self-building is a perfect example.
I still remember the first time I visited—he welcomed me into his home, gallery, and workshop, and I was deeply moved. A single-story house with a courtyard and a wide engawa (veranda)—it felt like a true utopia.
“I’d like to work on the garden next,” he said. That stayed with me.

When I visited again, the workshop had been relocated, and in its place stood Ryōri Ibukuro, a restaurant. The garden, too, had been beautifully transformed.

On my next visit, he mentioned—casually, as always—that he was thinking about building a guesthouse. We stood together on the land where it would one day be.

And the time after that, Bashō no Ie, now a beloved and sought-after guesthouse, had been completed. He kindly showed me around.

And then—
We arrive at the phone call that began this very column.

By Chance, By Bond

As I write this, I find myself realizing—perhaps it is Ken-san’s way of life that draws us to his work and makes us feel honored to share it with others.

The Chinese Banyan tree featured in this exhibition carries a special story of its own. We were delighted to learn that it once stood in the garden of a relative of Okinawan ceramic artist Osamu Makiya, whose work we also carry at Amahare. Through that connection, the tree found its way into Ken-san’s hands, and now, into his work—eventually arriving here with us. What a beautiful journey.

This time, too, every piece is remarkable—each one so compelling, it’s hard to choose just one.

We very much look forward to welcoming you, alongside Ken-san and his works.
Thank you, as always, for visiting Amahare.