16 original paintings, 5 editions of woodcuts, 6 or 7 successful plaster sculptures, one trillion failed plaster sculptures, one incredible sign built by Manuela, 7 particle board and palette-wood sculpture pedestals, one blown Sawstop blade on MakeHaven's table saw, one night in the hospital to reattach the side of Chris's index finger, 30 days of social media ads, 4,000 facebook messenger invites, 400 trips to the Pokémoto across from Hull's, 1200 coffees from Book Trader, a museum of trash compiled and arranged from the remains of said takeout trips, one permanent banning of Chris from Hull's Gallery space by Sean the owner (for painting all the radiators black and the bathroom bright red and covering the bathroom floor in sand), one job offer to work at Hull's made to Chris by Sean immediately following the permanent ban, two ruined Gant collared shirts by Chris (do not drive a nail using a can of spray paint) a tray of strange, instant-throat-drying-mystery-flavored-rice-balls from Miya's Sushi, many bottles of amazing firecracker sake from Miya's, one bartender who consumed more than the recommended dosage of firecracker sake, one freelance reporter who consumed more than the recommended dosage of sake and was hitting on the bartender, countless awesome visitors, a few sales, and lots of memories of stress and laughter - all for a 9-day long popup show.Īlex, Nick, Kerryanne, Rebecca, Daniel, Karly, Jon, Ruby, Manuela, Mark, Bun, Jake, Seth, Kevin, and anyone else who helped (that I missed), thanks so much. A press is not required.Whoa, can't believe it's been over 3 years since the November 2018 collaborative Disposable Aesthetics popup show I did with Chris O'Flaherty and Mark Donne of (now defunct) Lunch Money Print Collective and 5 other artists: Alexander Puz, Daniel Eugene, Nick McKnight, Kerryanne Celona and Rebecca Aloisio. So much work went into this exhibit, beginning nearly 8 months prior in February 2018 with the initial Moku Hanga woodcut of the coffee cup. It is very different from Western style woodcut that uses oil-based inks. Essential to this process are appropriate materials, including imported Japanese plywood (shina), waterbased pigments, washi and special brushes to apply the colour. Many printing variations are achievable with slight adjustments of water, use or not of rice paste, and local applications of pigment. Printing using a baren on Japanese washi papers with gouache pigments give mokuhanga it's pronounced characteristics: the colours are absorbed into the paper as a graphic stain thanks to the long fibres characteristice of washi. #FIRST MOKU HANGA USE REGISTRATION#A waterbased printmaking method, mokuhanga involves planning a graphic image, transferring the outlines to one or more woodblocks, carving and printing it.Īn effective registration method using carved notches in the wood called "kento", ensures that the separated colours fall exactly where you want them. Today this technique is being explored by many contemporary printmakers. An example of an early Japanese print is shown Right. This traditional Japanese printing method emerged in the 17th century. Mokuhanga means 'woodblock print' in Japanese.
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