Description
Ginsugi and yobitsugi are Japanese techniques developed for the repair of ceramics and lacquerware, rooted in a philosophy that treats breakage as an opportunity rather than a failure. Shehan Prull draws on that philosophy, not its methods, translating the underlying idea into metalwork entirely his own. He is drawn to the moment of fracture itself: the way objects break is never truly random. Cracks, splits, and seams follow invisible laws, branching in patterns that mirror the fracture lines in cooling lava, the network of a river delta seen from above, the way frost traces its path across cold glass. Processes governed by physics that usually goes unseen. Shehan works in that space. A mild steel tang meets a 52100 high-carbon steel blade through a scarfed joint of brass and tin, branching outward across the blade face in forms that feel less designed than discovered. The joint is not concealed. It is, as across this entire collection, the point.
The blade shares the same geometry as its siblings in the collection. Tall, symmetrical convex bevels slim to a very thin, hard, razor-sharp edge with only a touch of secondary bevel present. The spine drops with a gentle, uninterrupted curve to a fine tip, unhurried and precise, distinct from the K-tip geometry of Circles 3.1 and well-suited to the full range of kitchen work. At 243mm / 9.6″, it settles naturally into the hand. Shehan’s years training alongside master bladesmiths in Japan inform every decision, from steel selection to the last degree of the grind.
The wa handle is Kurogaki, black persimmon, chosen for its darkness and composure, grounding the blade’s intricacy without competing with it. A simple wenge edge guard completes the set.
Tendrils is not a pattern applied to a knife. It is a knife built around an idea: that the place where two materials meet can be the most beautiful place of all.
