1/31/2024 0 Comments Moku hanga paper sizes![]() How does the printmaking process itself relate to how you work with color? However, as I have developed the use of these water-based color pigments and media more deeply, I have discovered that they offer unlimited possibilities for exploration and innovation and can absolutely further my interests for examining space-visually, mentally, and emotionally. And I have organized various workshops, artists-exchange projects and exhibitions between Japan and the USA.Īt first, my interest in researching water-based arts and crafts in Japan was because of environmental concerns and thoughts of safety as an artist and a teacher. Returning to Japan again at different times, I have continued my research into other arts and crafts that are water-based, such as karacho printing, book binding, paper making, and scroll mounting. ![]() This woodblock printing technique is a familiar art form in Japanese culture and, although I was introduced to it as a public-school student, there was still no place to learn the techniques at a professional level. There I was able to research and learn Ukioy–e printing by visiting museums and other places where it was still practiced. In 1987, I received a Research Teaching Fellowship at Doshisya University in Kyoto. It was used to apply dye colors through exquisitely cut stencils to decorate fabric for kimono.Īfter living in the USA for 15 years, I returned to Japan to research traditional arts and crafts that use water-based color pigments. My other process, stenciling, is one that came to prominence in the same time period in Japan. He printed the first American contemporary artists’ Ukiyo-e woodblock prints published through the Crown Point Press. Tadashi Toda, Ukiyo-e master printer in Kyoto. I have studied, researched and had a chance to collaborate with Mr. My Mokuhanga woodblock printmaking process is based on Ukiyo-e which flourished in Japan from the late 17th to late 19th century. What are the direct references, research, or aspects of history that your work includes? Each work takes me to undiscovered dimensions of mind and space. Each individual work is a new opportunity to challenge myself, to further investigate color, to explore my theme, to focus on aesthetic qualities only achievable through the printed process. I work with mono prints and monotypes often, rather than with large edition prints. Following that trail leads me to the possibility of creating another new color, yet to be discovered. And then there is the trail by which it happened. The bridge between my technical and intuitive processes is a strong and fluid one: it enables me to create unexpected colors which I cannot find in the palettes, to find something I never imagined I could discover. The printmaking process constantly gives me new possibilities to challenge myself, to further investigate color. I often choose to work on printmaking imagery with colors at the same time as I am painting and drawing. Where do you reside between technical and intuitive in your work as an artist using colors?
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