This work addresses this and uses European oil based Wood Engraving, Japanese water based Mokuhanga and atmospheric Sumi ink to travel through a linear space, embracing time and distance, with the understanding that it is all a misunderstanding.’ Traditionally it’s said they don’t mix, this is the basis of much of printmaking and it may be true of tourism as well, particularly of cultural tourism. ‘…a combination of east and west oil and water. Of his print Passing through 1-2, selected for the International Juried Exhibition, he states that it is, His practice includes, painting, drawing and printmaking and exudes a tactile quality through his use of wood engraving, mokuhanga and etching. Melbourne-based artist Neil Malone, was Head of the Printmaking Department at the VCA until 2013, and was instrumental in introducing his students to mokuhanga at the college. Eight artists’ works from Australia were selected for the International Juried Exhibition: Jolanta Ewart, Roslyn Kean, Neil Malone, Deborah Metz, Marilla Price, Susan Rushforth, Kay Watanabe and Trish Yates. Nara is renowned as a centre for the production of sumi and historically is where monochrome woodblock printmaking started being used as a form of communication.Īlongside three days of paper presentations, the event features the International Juried Exhibition, Sumi-Fusion as well as several satellite exhibitions, which include Australia-based artists. The theme of the conference is sumi, the black ink traditionally used in mokuhanga (water-based woodblock printmaking) and calligraphy. Due to the ongoing pandemic, the conference has been reorganised as a hybrid event, with a reduced physical conference in Nara and a worldwide virtual conference across three time zones. Today, 1 December 2021, the Fourth International Mokuhanga Conference (IMC) opens in Nara, Japan after originally being scheduled for 2020.
Reproduced with permission of the artist. Jacqueline Gribbin, Hot Burn I, 2021, water-based woodblock print with sumi on Tosa Kozo, paper size 44 x 58.5 cm, image size 30 x 45.2 cm, A.P. Reproduced with permission of the artist.Įma Shin, Origin #7, 2005, water-based woodblock print with sumi, nishinouchi washi, 55 x 40 cm, edition of 15. Trish Yates, Forest Glow, 2021, woodblock, wax, sumi ink, double backed accordion style artist’s book, 11 x 15 x 26 cm, unique state. Roslyn Kean, Winter Courtyard Shadows, 2021, multi-block mokuhanga with gold leaf, 76 x 56 cm, U/S. Reproduced with permission of the artist.ĭeborah Metz, Sea Sponge Shapes with Eroded Rock Face Pattern, 2021, four-block mokuhanga, 40 x 57 cm, edition varied. Susan Rushforth, Passing Clouds VII, 2021, woodblock print using water-based pigments on handmade Japanese Kozo paper, 35 x 70 cm, unique state.
Neil Malone, Passing through 1-2, 2020, water-based mokuhanga, sumi stencil and wood engraving, 64 x 48.5 cm, unique state.
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