A New Art Form Weaving Nishijin Heritage and Traditional
Interview with the artist from Kyoto, Takuro Noguchi
“Landscape #35 - Rakuchu Rakugai Zu”(2016): Hakuga / Wood panel, lacquer, gold foil, platinum foil, sulfurized silver foil (red, blue, black), tin powder, black pigment, acrylic paint / Dimensions: 4080 × 1580 mm / Displayed at Kyoto Okazaki TSUTAYA BOOKS (ROHM Theatre Kyoto)
Takuro Noguchi is a distinguished artist renowned for his innovative “Hakuga” technique. His work harmoniously blends the traditional hikibaku technique, which is one of the elaborate production processes of the world-famous Nishijin brocade of Kyoto, with contemporary aesthetics, resulting in captivating pieces.
Born in 1975 into the Kyoto-based family business, Takuro Noguchi grew up surrounded by the traditional craft of hikibaku—a specialized foil used in Nishijin textile weaving. His father was the fourthgeneration head of the business, which produced materials for obi sashes.
From a young age, Noguchi had a passion for painting, leading him to study Western painting at Kyoto City Dohda High School of Arts and later graduate from Kyoto University of Art and Design. After spending a year assisting the esteemed photographer Shomei Tomatsu in Nagasaki, he returned to Kyoto in 2001, initially intending to take over the family business.
However, he faced an industry in decline. The rise of mechanization significantly reduced demand for handmade hikibaku, making it increasingly difficult to sustain the craft in its traditional form. Realizing the need for reinvention, Noguchi decided to channel his expertise into creating original artworks.
“Hikibaku is an incredibly specialized technique, and I thought that by applying it to painting, I could create something entirely new. Since foil reflects light, the appearance of a painting changes throughout the day depending on the light, giving it a unique and evolving presence.”
Transitioning from craftsman to artist required a major shift in mindset. Noguchi recalls struggling with the concept-driven approach of art education, which at times made him lose his love for painting. However, he found inspiration in a statement from his university’s ikebana instructor: “The most beautiful works of art are those that embrace a delicate instability.” This idea resonated with him, reinforcing the importance of movement, depth, and imaginative engagement in his work.
At the core of Noguchi’s art is a simple yet profound desire: to create beauty. He frequently visits Okinawa, a place that deeply inspires him, and many of his paintings draw from its landscapes. His Landscape series, which collages fragmented memories of places, was originally sparked by an aerial view of Okinawa’s islands from an airplane window. Many of his seascapes reflect not only the physical beauty of the ocean but also the emotions he experienced while observing it.
“Neuroscientific research suggests that when the brain’s ability to recognize beauty diminishes, it can lead to depression. In contrast, exposure to beautiful scenery and art can have a therapeutic effect. I believe that in an era where mental well-being is increasingly fragile, creating art that is purely and simply beautiful has significant meaning. Even without a rigid concept, the act of making something beautiful can have value, offering a sense of peace and renewal to those who experience it.”
Born in 1975 in Kyoto, graduated from Kyoto University of Art and Design, Department of Western Painting in 1997, and returned to his family business in Nishijin, Kyoto in 2001. He started his career as a hakuga artist, applying the technique used in Nishijin textile production. Using a unique technique of gluing gold, silver and platinum leaf and coal dust onto lacquered wooden panels, Noguchi creates abstract landscapes (Landscape
Series) and landscapes of sea and sky, dawn and starry skies, expressing the beauty of the light of hope in his works.
“I painted a bird’s-eye view of Kyoto’s cityscape as if seen from above. My “Landscape” series is an abstract representation of urban landscapes viewed from an overhead perspective. Rather than depicting real locations, these works primarily express imagined scenes. This Kyoto cityscape blends actual elements of the city with my own abstract interpretations. A large full moon is prominently featured in the piece. While a true aerial perspective wouldn’t include a visible moon, its presence creates a world that feels both real and surreal—inviting viewers to expand their imagination and immerse themselves in the scene.”
The studio will be opened by appointment only, with guidance by the artist for a fee (no free plans, e.g. visiting the studio only is not accepted). Non-English speakers must be accompanied by an interpreter. Contact Noguchi about fees and other details.