![]() ![]() Time: Saturday, Feb 26, 8 pm ( EST) ( US and Canada) / Japan – Feb. Register in advance for this event so that we can send you a reminder!!!Īfter registering, you will receive a confirmation email containing information about joining the meeting. 10 minutes each presentation / up to 20 images. ![]() We are pleased to have PechaKucha presentations by three wonderful mokuhanga artists!ġ - Terry McKenna (Japan) - “Water is Life”Ģ - Patty Hudak ( U.S.)- “Mokuhanga Connections: Finding Support in our Community”ģ - Andre Zadorozny (Canada) - “The Unfinished Print: Understanding The Mokuhanga Community” International Mokuhanga Association ( IMA) invites you to join a scheduled Zoom event, continuing our conversations from the IMC2022 Virtual Conference. Terry McKenna who runs the Karuizawa Mokuhanga School in Japan andĪndre Zadorozny who hosts the podcast, The Unfinished Print. I will be presenting with 2 other members of the Mokuhanga Community: You are invited to a Zoom IM PechaKucha event! The Bright Energy of Pure Orange Color in Art Work should have been created in the past 5 years. This juried exhibition is open to all international artists. Small 3-d works and artist’s books that utilize mokuhanga will also be considered these accepted works may be displayed in glass exhibition cases. The exhibition will run from September 12 through October 8, 2022.All applications must be submitted via this link: The exhibition will be juried by Mokuhanga Sisters, a print collective of nine international artists bound together by their love for mokuhanga.Īll accepted works must utilize mokuhanga as the primary medium. Mokuhanga is a traditional Japanese style of woodblock printing that utilizes water-based inks and is printed by hand using a baren. ![]() Lawrence University in Canton, New York, announces a call for entry for original prints with an emphasis on mokuhanga. Just sit back and take your time.My print collective, Mokuhanga Sisters invites you to submit your mokuhanga works for this juried exhibition. The difference I guess is that moku hang always seems to carry its own antidote to the poison. But they both can create wonderful prints. I say 'pick your poison' in the title because the difficulty of both can make them both occasionally seem like two unpleasant choices. But for me the lack of solvents, the ease of printing, even though I recall that my first print proved no easier and probably harder than my first reduction print, the small space required to both carve and print all make it something that fits easily into my life. Moku hanga can proceed at a much calmer pace, though of course this wasn't true when it was done in its heyday in Japan I imagine since it was a business. With reduction cuts I was exhausted by the time I was done. In both reduction prints and in moku hanga, especially as I continue to add blocks of new colors, it can seem like trying to juggle too many balls at the same time. Everything about moku hanga seems organic: the materials used, the method of printing, the many slow, at least for me, processes that make up moku hanga. But I think the most telling word is this: organic. Why you might ask do I so prefer one over the other? Well I'm sure that there are different answers for different people and I should also add that I don't really do traditional moku hanga. There is still a fair amount to do and I need to switch to at least one and perhaps two better papers for the edition. Surely there must be a better way.įor me that is moku hanga, as seen in a recent proof of an Eastern Amberwing. I didn't find the mental wear and tear, coupled with piles and piles of print that had to be rejected as I made more changes, were worth it. Though there was always something thrilling about doing them I eventually gave it up. So as usual I just do what I like and assume that my work will eventually find an audience.īut the reduction part of the Blackpoll Warblers also reminded me of the blood, sweat and tears, and at one time volatile fumes as well, that accompany them. Throwaways, in the sense that I did them relatively quickly, are more popular than I would have guessed. The ones that I think will be popular, largely often because I think that they are just plain good, often are not. It also reminded me of Robert Gillmor saying in 'Cutting Away' that he could never tell which prints would be popular. It reminded me of just how difficult it is to make any sense out of web stats. I decided to write it after I took a look at my Etsy shop's stats for last year and saw that the Blackpoll Warblers among Swamp Dogwood was by far the most viewed work for 2019. Multi-block woodcut of Blackpoll Warblers among Swamp Dogwood, Copyright 2014 by Ken Januski. ![]()
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