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  <title><![CDATA[Cedar Blend Line]]></title>
  <link>https://cedarblendline.com/</link>
  <description><![CDATA[Cedar Blend Line is a contemporary art gallery in Higashiyama, Kyoto, showing works in wood, lacquer, washi, and pigment. Open Wed-Sun, free entry.]]></description>
  <language>en</language>
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    <title><![CDATA[Summer exhibition opens: Setsuko Mori's 'Folded Light']]></title>
    <link>https://cedarblendline.com/</link>
    <description><![CDATA[Nara-based artist Setsuko Mori opens her first solo show at Cedar Blend Line on July 18. The exhibition brings together fourteen new works in handmade kozo paper, beeswax, and iron oxide. The gallery is open Wednesday through Sunday, free entry.]]></description>
    <pubDate>2026-07-18</pubDate>
  </item>
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    <title><![CDATA[Autumn residency applications are now open]]></title>
    <link>https://cedarblendline.com/</link>
    <description><![CDATA[The 2026 Cedar Blend Line autumn residency runs for four weeks in October. Applications are open through August 15. We are looking for artists at a specific point in a project, not artists looking for general studio time.]]></description>
    <pubDate>2026-07-01</pubDate>
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    <title><![CDATA[How urushi lacquer is used in contemporary Japanese art]]></title>
    <link>https://cedarblendline.com/notes/urushi-lacquer-contemporary-art.html</link>
    <guid>https://cedarblendline.com/notes/urushi-lacquer-contemporary-art.html</guid>
    <description><![CDATA[Urushi is the sap of the Toxicodendron vernicifluum tree, harvested by hand in small quantities from trees that take a decade to mature. It has been used in Japan for at least 9,000 years, and for most of that time it was applied to functional objects: bowls, boxes, furniture, armour. Contemporary artists working with urushi are doing something different. They are using the material's depth, its slow cure, and its sensitivity to humidity as expressive tools rather than protective coatings.]]></description>
    <pubDate>2026-05-14</pubDate>
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    <title><![CDATA[Buying art in Kyoto: what first-time collectors should know]]></title>
    <link>https://cedarblendline.com/notes/buying-art-in-kyoto-what-to-know.html</link>
    <guid>https://cedarblendline.com/notes/buying-art-in-kyoto-what-to-know.html</guid>
    <description><![CDATA[Kyoto has a lot of galleries. Some are attached to craft shops and sell decorative objects with a loose relationship to contemporary art. Some are serious programme spaces showing work that will still matter in twenty years. The difference is not always obvious from the outside, and the language barrier can make it harder to ask the right questions. This is a practical guide for first-time buyers, based on what we have seen work and not work over nine years of running Cedar Blend Line.]]></description>
    <pubDate>2026-04-03</pubDate>
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    <title><![CDATA[What makes handmade washi different from machine-made paper]]></title>
    <link>https://cedarblendline.com/notes/handmade-washi-paper-art.html</link>
    <guid>https://cedarblendline.com/notes/handmade-washi-paper-art.html</guid>
    <description><![CDATA[Most people who buy a work on paper do not think much about the paper itself. They look at the image, the ink, the composition. But the paper is doing a lot of work. It absorbs differently, ages differently, and responds to humidity and light in ways that affect how the work looks over decades. For artists working in ink and pigment in Japan, the choice of paper is not a background decision.]]></description>
    <pubDate>2026-03-18</pubDate>
  </item>
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    <title><![CDATA[How the Cedar Blend Line artist residency works in practice]]></title>
    <link>https://cedarblendline.com/notes/artist-residency-kyoto-how-it-works.html</link>
    <guid>https://cedarblendline.com/notes/artist-residency-kyoto-how-it-works.html</guid>
    <description><![CDATA[The Cedar Blend Line residency is not a retreat. There is no countryside, no isolation, no chef. It is a studio in the back of a working gallery on a busy tourist lane in Higashiyama, Kyoto, and on Friday and Saturday afternoons the door is open and visitors walk through. That is the point. We are interested in artists who can work in that condition, and in the conversations that happen when someone who has never thought about art before watches a person making it.]]></description>
    <pubDate>2026-07-01</pubDate>
  </item>
  <item>
    <title><![CDATA[How to care for wood and lacquer art in a home environment]]></title>
    <link>https://cedarblendline.com/notes/caring-for-wood-art-at-home.html</link>
    <guid>https://cedarblendline.com/notes/caring-for-wood-art-at-home.html</guid>
    <description><![CDATA[Wood moves. That is not a flaw; it is the material's nature. A cedar panel or a hinoki sculpture will expand slightly in humid summer air and contract in dry winter heating. If the work is well made and the conditions are reasonable, this movement is harmless. If the conditions are extreme, or if the work is fixed too rigidly to a wall, the movement can cause cracking. Most of the care questions we get from collectors come down to a few specific situations that are easy to avoid once you know about them.]]></description>
    <pubDate>2026-02-11</pubDate>
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