Laura Viñas revisited

 

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Lejania by Laura Viñas. Watercolor on Tengucho paper.

We’re looking back at work by Laura Viñas this month. Through her work Viñas explores the psychological reality about self-contextualization and memory. Painting Tengucho 5g and 9g papers with watercolors, Viñas transforms the seemingly delicate sheets into powerful haunting images of landscapes alluding to the Pampa region of South America– a vast expanse of low-lying flat fields that unfurl in every direction that you look towards the horizon. Viñas work asks us to look into the image on the surface of the Tengucho paper and once there to try to look past it and get lost in the illusory expanse, and to consider the space behind the paper as part of what’s directly confronting us in each painting or installation.

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In the words of the artist:

My subject matter deals with  the perception of  landscape in order to create new places.
These new places are a mental construction, and in them the object of my work is embedded: time deposits, memory and distance.
At the same time, it allows me to research into the concealed and enigmatic side of these objects.
I choose my materials with precision: thin rice papers, watercolors and photography.Furthermore, I restrict the color palette, the vanishing points, and materials in order to fully develop my creativity and concentration.
I manipulate nature and light  as an abstraction, to generate a mirror where the viewer finds himself.  –Laura Viñas’ artist statement

Take a look at more of Laura’s work here: 

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Hiroko Karuno: Moro Jifu Exhibition

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May 27th – May 30th 2016

10AM – 4:30PM @ Naoya Shiga Former Residence

Address: 1237-2 Takabatakecho, Nara, Nara Prefecture 630-8301

Tel: +81 742-26-6490 Website: http://www.naragakuen.jp/sgnoy/ Continue reading “Hiroko Karuno: Moro Jifu Exhibition”

From Japan: Keiji Oki of Mohachi Paper in Fukui

(Translated by Yuki Katayama)

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Keiji Oki is the third generation Mohachi papermaker. Mohachi is an extra heavy weight yet soft paper. It is sized internally, making the papers suitable for printmaking, painting and ink-jet printing.

Can you tell us a little about the history of Mohachi paper?

From the Edo period, the Oki mill originally made only Hosho papers. It was only from early Showa period that first generation Mohachi Oki became interested in making a Japanese watercolor paper for western painting.  The beginning of WWII prompted the development of a thick Japanese paper, since the supply at the time was all western papers that could not be imported during the war. This type of paper was invented with guidance from Mr. Hakutei Ishii (painter and print artist, one of the fathers of the sosaku hanga (creative print) movement) It was named “MO” paper, from the first two letters of Mr. Mohachi Oki.

Post-war, once the production of MO Mohachi paper normalized, the production of larger sized papers and printmaking papers began. These papers were not for mokuhanga, but for methods such as lithography, etching and silkscreen.

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 Any new papers that you’d like to try making?

I’d like to try making papers using the same materials as the Mohachi paper, but cater to new needs of artists or printmakers. That is how the largest size 31″ x 47″ Mohachi paper was developed, because there was a higher demand for larger paper for artists to use. 

What is your view on the future of washi? 

I’d like to focus on promoting the large variety of papers that Echizen has and showing the world what Echizen Washi has to offer. Also, I am still in the process of thinking of ways to keep Mohachi papers relevant and increase demand. 

Any hobbies outside of papermaking?

I like to climb mountains and run marathons in my free time. My current goal is to climb as many mountains as I can in the “100 Famous Japanese Mountains” list.

See artist feature to read about how artist Sal Taylor Kidd uses the Mohachi in her printing.

Deffner & Johann Spotlight

This month we are excited to introduce Deffner & Johann, German distributor of Hiromi Paper’s conservation papers, materials, and more. Deffner & Johann’s dedication to product innovation has made them a great partner in promoting special papers and materials across Europe. 

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Photo: taken by Hiromi Katayama at the IADA Berlin congress of Ralph-Uwe Johann & Maren Dummler

 

In 2015, Deffner & Johann presented a video on “Parchment Restoration” with paper restorer Maren Dümmler, using washi from Hiromi Paper.

View the video on youtube here.

“Deffner & Johann is a leading supplier of materials, tools and equipment for conservation & restoration, care of historical monuments and for those practising traditional craft techniques. We also supply design solutions for fitting out workshops and studios. In over 135 years of its history, the company has made a name for itself far beyond the borders of German speaking countries as a specialist wholesaler of products for use in all aspects of the conservation of cultural goods.

Our customers include well known museums at home and abroad, public and private archives, restoration & conservation studios, trades and crafts workshops and discerning artists as well as universities and research institutions specialising in conservation training.  We refine our range continually in close consultation with our customers. This co-operation drives us forward and forms a substantial part of our company’s philosophy.”

https://www.deffner-johann.de

From Japan: Hiroya Yamashita from Yamaji Paper mill in Fukui

In our quest for the most color fast kozo paper, Hiromi Paper has collaborated with Echizen papermaker, Hiroya Yamashita, to create the Hiroya color series. Here are some questions we had for Hiroya about the new color series:
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Paper profile: Weight, Size, Material, Sizing, and Cooked with?
50% Kozo, 35% Pulp, 15% Manila Hemp
67 gsm
With sizing
Cooked with caustic soda

How did you get into papermaking?
I started papermaking about 13 years ago, when I was 23 years old. The mill is my family business, so it was a smooth transition into the world of papermaking.

Can you tell us the process of developing this paper?
The base of Hiroya Paper is a handmade paper that we had originally been making at the mill, with a mixture of local-grown kozo, pulp and Manila hemp. I felt that it was important to use as much local ingredients as possible, since I knew this paper was going to be used internationally.

What do you find yourself doing when not making paper?
I love cycling, playing golf, and of course eating myself full of sushi!

Please leave a few words for our readers if you have any:
I’m always open for new suggestions or opinions on what kind of papers overseas customers want! Please let us papermakers know, and we will try our best to fulfill those requests!

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How were the colors of Hiroya Paper developed?
In order to achieve better, long-lasting colors, I outsourced to a different company for their assistance to dye the papers after the papers were formed.
 
What is the significance of the coloring?
The pigments used are what were traditionally used to dye kimono textiles, and are much less likely to fade over time.

How are the colors applied to the papers?
The colors are screen-printed onto the papers, all by hand.

Rembrandt’s Etchings and Echizen Paper

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Sugihara-san and Fukui paper makers attended the opening of the much anticipated exhibition: Rembrandt’s Etchings and Japanese Echizen paper at the Rembrandt House Museum!

The exhibition will be open to the public until September 20th, 2015.

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The Rembrandt House which once was his home is now a historical monument and museum, commemorating Rembrandt’s life and work located in Amsterdam. He lived and worked in this house from 1639 to 1658. Although the interior has been reconstructed since then, the overall architecture remains the same as it was in his time.

IMG_3889 Continue reading “Rembrandt’s Etchings and Echizen Paper”

Rembrandt and Gampi by Bruce Meade

Rembrandt and Gampi  Written By: Bruce Meade rembrandt 1 The news got to Rembrandt quickly. The first trade ships from Japan had just dropped anchor in Amsterdam harbor. And among the exotic treasures in their holds was rumored to be a rare, beautiful paper. Luminescent, incredibly lightweight, yet more than strong enough to hold a printer’s ink. Rembrandt hurried through a maze of alleyways to the shop of the paper merchant. The artist arrived just as the new sheets from Japan were being carefully stacked on wooden shelves. “Gampi”, stated the merchant. “Made from the bark of a shrub that grows only in the wild. Quite expensive.” Continue reading “Rembrandt and Gampi by Bruce Meade”