28 May 2007
In the two years I've been exploring moku hanga I've found that working successfully in this medium requires me to be calm, patient and focused and I just can't find those qualities in myself right now, what with buying a new condo and selling my old home. It's possible that I won't produce any more prints until later this summer after we've moved, although I can hardly bear the thought.
So I'm studying. I'm reading about printmaking and looking at prints. At my local library I found a book called A Graphic Muse: Prints by Contemporary American Women, written in 1987 by T.J. Edelstein and Ruth E. Fine. Although a bit dated, the book is introducing me to some women artists I've not heard of before and a few of them work with wood.
The work of artist Aline Feldman (born 1928) interests me on many levels. A student of previously blogged Werner Drewes, Feldman switched from the western woodcut method (rolling oil-based ink onto blocks) to the Japanese method (brushing on water-based inks) in the 1960s under the tutelage of Unichi Hiratsuka. Later she discovered the "white-line" method developed by the Provincetown printmakers and combined this with moku hanga to develop her own brand of one-block multicolored printmaking.
In addition to being interested in her process, I'm also interested in Feldman's distinctive aerial view landscapes. Unlike my method of working from satellite photos I find on the internet, Feldman actually goes aloft in a four-seated Cessna to find her source materials. I like that idea! Now to find a friend with a pilot's license...