Sedo no kusa ("Grass in the backyard")
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For
the exhibition in Paris, France commemorating the 150th anniversary
of diplomatic relations between Japan and France
"Hangiga" - Appeal of the flatland
Since woodblock prints known as "Ukiyoe" created
by Japanese artists such as "Hokusai " and "Hiroshige"
were brought into France 150 years ago, Japan and France have
shared a broad flow of art as represented by the significant
impact of Ukiyoe on many artists including Monet and Gogh.
"Hangiga" which will be presented in France for
the first time with this exhibition was created by me more
than 20 years ago by refining the traditional techniques of
Ukiyoe to create delicate and high quality woodblock prints.
Its most outstanding characteristics in addition to the expressions
of motifs and space, are the translucent and vivid colors
and natural texture of the wood surface, which remain on the
prints and which cannot be duplicated by other types of woodblock
prints or drawings. I think that it is a crystallization of
the components which play an important role in Japanese traditional
culture, which are wood, paper and water.
The quality of woodblock prints depends on the printing technique.
It is the essence which allows prints to come to life. Good
printing depends on various factors including weather, quality
and conditions of materials and tools such as Japanese paper,
woodblocks, paints, and "baren" (a tool for printing
woodblock prints), as well as physical strength and mental
conditions; if I can complete one satisfactory print per month,
it is a great success for me. It must be difficult in other
countries with different weather, different climates and different
history.
Since the birth of Ukiyoe, Japanese woodblock prints have
only been duplicates of Ukiyoe or copies of ordinary paintings
or so-called "creative" woodblock prints with poor
techniques. I believe that "Hangiga" will change
the recognition of such existing woodblock prints.
In the era when the global environment is in danger, we are
expanding the scope of our activities from three-dimensional
space to four-dimensional or even to five-dimensional space;
however, the appeal of drawing which is consolidated in the
flatland (two-dimensions) is still sufficiently mysterious.
The title of my exhibition, "Memories of Japan",
does not mean nostalgia, but "a form or shape of Japan"
which existed, still exists and will remain in existence as
a two-dimensional culture.
Last but not least, I would like to express my deepest gratitude
to the Japanese craftsmen who provide me with woodblocks,
Japanese paper, carving knives, brushes, baren and paints,
the people in Japan and in other countries who have supported
me by purchasing my works, Ms. Yuko Hattori of Espace Hattori,
Mr. Akio Uozu, a woodblock print critique, and the government
and =people of France.
May 2008 - Tsuzen Nakajima
During my three exhibitions starting from
the one in Seigetsudo Gallery in Ginza in March, the one in
Shimonoseki from March to April, and the one in Hirosaki at
the end of April which were held in less than two months,
I enjoyed warm support from many people. On this occasion,
we would like to express our sincere gratitude to all of them.
After I returned from Hirosaki after the exhibition in early
May, I felt a little tired and had some rest. Now I am totally
refreshed and am preparing for the exhibition in June in Paris.
I will report to you about the exhibition after I return.
At home in May with a balmy breeze.
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