Matsuzaki carves out the finest wood from Sakurai Meimokuten in Gifu using a chisel, mallet, and plane, and then applies generous layers of high-quality lacquer from the Nakagawa area.
The rough and unrefined shapes seem to go back to the Jomon period, and Matsuzaki's Negoro lacquerware, which he used to decide on a career in woodworking in his youth, and his shapes that are reminiscent of the Yi Dynasty are what make him so appealing. He does not have a master, and continues to pursue the beauty of woodworking that he believes in.

Lacquer is said to be Japan, and is one of the crafts that Japan takes pride in. 35 years ago, without a teacher, I stepped into the world of wood lacquer crafts. At that time, the lacquer industry was too focused on superficial beauty, making vessels that boasted of their technique, losing functionality and modernity, and work was divided into small tasks. In order to return to my roots, I "hollowed out a piece of wood, created a shape, and applied lacquer." In order to bring out the strength of lacquer, I applied layers of lacquer and simplified the technique to express my own thoughts and individuality. For vermilion, I used Akaguchi, and applied raw lacquer many times to create black. My work is to create my own world through wood and lacquer. When creating that beauty, the most important moment is when you decide where to end it. Carving, shaping, and painting are also the most enjoyable moments.
The reason I became a craftsman is because of my father, a Japanese painter, and three spiritual mentors: Mr. Kuniyoshi Obara, founder of Tamagawa University; Mr. Noriyuki Ushijima, a Western-style painter; and Mr. Tatsuzo Shimaoka, a ceramic artist. "The path opens up when you strongly and strongly wish for your goal. The strength of layering colors in a quiet expression. The magnitude of the vessel, the depth of the craft." "Daido Mumon" I believe I have become who I am today because I learned from these three people.
Excerpt from "Tohru Matsuzaki Lacquer"