the long spring rain

　Instead of layering multiple editions on one sheet of paper to form a single work, multiple sheets folded on one thin sheet of Japanese paper are layered on top of each other to form a single image. This is an attempt to disassemble the basic nature and process of “composing a screen by layering multiple plates” of printmaking, and to reconstruct the existence of a “plate” while disassembling it. By layering something folded on thin Japanese paper, it is not a simple overlap of colors, but a mixed color that passes through the fibers of the Japanese paper, and a complex, three-dimensional, and unpredictable expression is created from the color version where white haze becomes the lower layer. In this way, one image born from the “plate” is captured as a single part, and while thinking about how to layer it on the spot, the most comfortable color is instantaneously searched.

　The fact that a landscape changes color and taste depending on all factors such as weather, time, and season is very similar to printmaking, where various expressions can be created from a single mold by changing the color and way the paint is applied. Thin Japanese paper is surprisingly strong, and can pick up wood grain and barren marks on boards. Sometimes the wood grain on a woodblock looks like a stream of water, and the work of following that smooth water vein has an affinity with thinking about water. For this reason, they mainly produce water-based woodblock prints.

Water-based woodblock print, Japanese paper (tengujo-paper)