YA K O H O D O

Many years ago, Yako Hodo chose bamboo, a plant historically

celebrated in Japan for its strength, resiliency and flexibility, as the

material to express his creative ideas. He was introduced to tradi-

tional bamboo basket making by Nakajima Hoso, who taught him

the fundamentals when he was a teenage apprentice. In the early

1960’s, Yako began exhibiting his artwork in public. After a move to

Tokyo, he became a student of Baba Shodo, a senior bamboo artist

with tremendous vision, who encouraged him to explore the possibil-

ities of bamboo as a medium for contemporary sculpture. His work

during this period was often made on a very large scale and featured

the distinctive sweeping beauty of split bamboo. While Yako showed

these pieces locally and nationally, his goal was acceptance by the

Nitten, the annual Japanese Fine Arts Exhibition, and this was first

achieved in 1973.

During this time, he married a wonderful woman and spent many

years crafting bamboo lampshades to support them. With patience

and discipline, he set aside time to make two or three sculptures each

year for submission to public exhibitions. A less determined person

would have abandoned his artwork altogether.

Journey to the North 1994,9 3/4 x 41/4 x 17 3/4 inches

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On the advice of Baba, in the mid-1990s he changed priorities,

setting his sights on the Traditional Craft Arts Association. Since func-

tionality is the focus of this organization, Yako had to undergo a major

shift in his thinking and process, making smaller vessels that could be

used for flowers. He introduced an array of warm, dyed colors to his

work and retained his passion for the beautiful line of the split bam-

boo. Once he made this transition, a burst of creativity followed,

which led to full membership in the Traditional Craft Arts Association

and awards for his work. In 2000, he was recognized by the Min-

ister of Culture with a Medal of Honor.

Perhaps the most surprising part of his artistic career for Yako is the

enthusiastic reception of his work in America. His art is represented in

three American museums and numerous private collections. The life of

an artist who chooses bamboo as his artistic medium is not easy, but

if the individual has the strength, resilience, and flexibility combined

with ability and creative vision great things can be accomplished, as

Yako has proven.

Robert T. Coffland

City 1988, 13 x 61/4 x 28 3/4 inches

Page 6: Sound 1970, 391/4 x 211/2 x 101/4 inches

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A R T I S T ’S S TAT EM EN T

It was fall of 1998 I received a surprising phone call. Someone from

America saw my artwork at the Japan Traditional Craft Arts Exhibition

and wanted to meet me. November of that year, Robert T. Coffland

came to my house, and to my astonishment he came alone. He did

not speak much Japanese and I did not know much English either. It was

around noon when he arrived so I asked him, with my gestures, if he

would like to have lunch. He said, “I like ‘katsudon’ (pork cutlet bowl)

for lunch in the winter, but I prefer ‘Soba’ (buckwheat noodle) during the

summer.” I ordered “katsudon” for delivery, and we ate lunch together.

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A R T I S T ’S S TAT EM EN T

After lunch, we went to my studio and I showed him my artwork.

Before I began to exhibit with the Traditional Craft Arts Organization

in 1994, I created large scale bamboo sculptures and exhibited them

at “Nitten”, the Japan Fine Arts Exhibition. When Mr. Coffland saw my

“Nitten” pieces, he said,“Your artworks are so powerful and beautiful!”

At that point I felt we connected not through words but through my work.

Since this initial meeting, Mr. Coffland has visited my studio regularly,

and, thank God, with interpreters.

During my fifteen-year training period, I studied under four different

masters learning various skills and techniques. I started to show my

work at public exhibitions early in my career. In my third year, I started

entering one piece per year at the local prefectural art exhibition. Back

then this was quite unusual, as students were expected not to express

their own ideas until they learned all of the basics. Creating pieces of

my own early helped me build a foundation of my own artwork, and

I sincerely appreciate my masters’ kindness for allowing me to do so.

During my Nitten period, I competed in juried art exhibitions that

included both Japanese and Western style paintings and sculpture in

bronze and other mediums. To show beside these I created bamboo

sculptures with scale, volume, and presence. For the Traditional Craft

Arts exhibitions I now make vessels. Making art for me remains the

same: inspiration means finding themes, new ideas of what to create,

and the techniques for materializing these visions.

Having my first overseas solo show is a dream come true. I would

like to thank Mr. Coffland and the staff at TAI Gallery for making this

happen and I am looking forward to meeting everyone who comes

to the opening.

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Springtime Buds 2000,17 x 81/2 x 2 inches

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Sunset at Grand Canyon 2005,17 inch diameter x 2 inches

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Red City 2002,81/2 x 31/2 x15 inches (above)

City Lights 2001,83/4 x 4 x 16 inches (left)

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Uplifting 1990, 311/2 x 231/2 x 231/2 inches (above)

My UFO 1979, 271/2 inch diameter (left)

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Shogun of the Sea 1992, 191/2 x 251/2 x 13 3/4 inches

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Flower Basket 1963, 361/2 x 12 x161/2 inches

A Construction 1975,81/2 x 81/2 x 25 1/2 inches (above)

Late Autumn 2004, 8 x 51/4 x15 inches (right)

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YA K O H O D O

1940 Born in Niigata Prefecture1956 Apprenticed to Nakajima Hoso1961 Admitted to Niigata Prefecture Art Exhibition for the first time1964 Studied under Nakamura Yukosai1965 Apprenticed to Baba Shodo1968 Winner of Tokyo Governor’s Award at Japan Art Exhibition1973 Admitted to Nitten, Japan Fine Arts Exhibition for the first time (thereafter 7 times)

1978 Admitted to Japan Modern Craft Arts Exhibition for the first time(thereafter 13 times, and became full member)

1979 Winner of Saitama Governor’s Award at Prefecture Arts Exhibition1985 Group Exhibition at Saitama Arts Exhibition1992 Judge at Saitama Prefecture Arts Exhibition1994 Admitted to Japan Traditional Craft Arts Exhibition for the first time1995 Solo Exhibition in Kumagaya

Winner of Exceptional Technique Award (Ministry of Labor Award)

1997 Admitted to Japan Traditional Craft Arts ExhibitionBecame full member of Traditional Craft Arts AssociationSolo Exhibition at Fukaya City LibraryExhibited in “Bamboo Masterworks”, Asia Society, New York

2000 Winner of Medal from Emperor of JapanAppeared on CNN “Style”Exhibited in “Bamboo Masterworks”, Asian Art Museum of San Francisco

2001 Exhibited in “Bamboo Masterworks”, Honolulu Academy of ArtExhibited in “Best Bamboo Baskets: The Cotsen Collection”at Long House Reserve, East Hampton, New YorkExhibited in “Meet the Masters”, TAI Gallery, Santa Fe

2002 Exhibited in “Bamboo Masterworks”, Pacific Asia MuseumExhibited in “Bamboo Masterworks”, Field Museum

2004 Exhibited in the Hand Workshop Art Center, Richmond, Virginia2005 Exhibited in “Weavers of Wonder”, Naples Museum of Art, Naples, Florida2006 Exhibited in “Hin: Quiet Beauty of Japanese Bamboo Art”, Faulconer Gallery,

Grinnell, Iowa and Chicago Cultural Center, ChicagoExhibited in “Beyond Basketry: Japanese Bamboo Art”, Museum of Fine Arts, Boston

MUSEUM COLLECT IONS:

Mint Museum of Craft and Design; Asian Art Museum of San Francisco

Springtime Buds 2000,17 x 81/2 x 2 inches (right)

Covers: Uplifting 1974, 191/2 x101/2 x 311/2 inches (two views)

Photography by Gary Mankus

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