Studio Shuffle

My new space, freshly painted.

There's been a lot going on in the last few weeks.
Today, I finished painting my new studio. It's not really a "new" studio.  I am just shifting rooms from a room towards the back closer to the street and front access. One of our 4 artists moved out. My neighbor took the front room and I decided that since I am hoping to start teaching moku hanga classes in Florence that having our rooms contiguous would allow us to occasionally share spaces (each room alone is only big enough for 3-4 students but together can host up to 8-10).
I took advantage of the emptied room to repaint it but that meant pulling down lots of ugly shelves, patching holes, painting the walls and today finishing the painted baseboard. While the rest of the studio is peaceful, neutral beige/off-white, I went with colors a bit more fanciful.
The back wall is a white indoor house paint with a ton of leftover dry pigment mixed in: mostly phthalo blue and burnt umber.

This is the space before painting.

And after.

While this is my current room--charming but very cluttered.

Tomorrow I will start moving stuff forwards but as you can see from my old room photos, I've accumulated a lot of stuff and hope I can take advantage of the move to get rid of many things that don't belong.
But while I hope to get moved in very soon, it may be a bit before I can get any real work done:

I'm preparing for the Japanese Cultural Fair that opens in 2 weeks and where I'll be doing a printing demonstration and I found out today that I will be assisting and supervising a stonecarving studio's independent study for a local, private Exchange program one day a week through December.
Plus I have shallots and garlic to plant, and fields to prepare for next year.
Not to mention New prints to start and finish.

Day Job

When I'm asked what I do, I'm always hesitent as to how to reply.
Do you mean what do I get paid to do? Or what do I spend most of my time doing? or what would I be doing if I didn't have any family responsibilities?
What do I do well? Or Just for fun. Just for me?
What do I do that's important, or frivolous. Selfish. Selfless. 

What did I do yesterday, or today, or last month...or tomorrow?
No answers here.
I joke that I've aleady had three or four careers...

I worked in the clinic all day yesterday and will be working almost every other day through the Summer before we head back again to Italy.  And since my free time now is spent keeping up with the medical world--reviewing charts and current practice there's no time now for painting or printing. We still commute between two worlds. Italy where I get to be a dad/farmer/printmaker/artist and the US where I jump back completely into the medical world of patients, long shifts and the desire to make people well and the everpresent fear of making a mistake or missing something serious.

But we will head back to Italy in September:
The boys will be back in school and Fall chores in the fields will beckon--maybe there will still be time to put in strawberries or seed a cover crop in the bottom fields or squeak in some spinach and lettuce to overwinter.
Then maybe I'll have a moment to pull out my sketchbooks again.
I have some wood planks waiting and a few ideas I've been kicking around for years that I've been hoping to get onto paper eventually.

Happy New Year

Wishing all a happy and healthy, productive and creative New Year.

Hope any who need direction will find it and those who already are where they want to be will share coherent directions.

Auguri and Best Wishes,

Andrew

Filler

As my big Maple branch/seed/print is taking a long time, I need to take frequent breaks or I'll lose interest.

These are two watercolor doodles done on my badly-sized Japanese paper (and indeed they were unevenly sized and both resisted and sucked up the watercolor rather haphazardly). (I have a big stack of reject paper...from my sizing experiments.)

Nervous Energy-- 5"x7" watercolor on Japanese paper

Counting the Days--5"x7" watercolor and mica on Japanese paper

No real theme just shapes, colors, lines and a bit of leftover mica powder mixed into the paint.

Truccioli--wood shavings

I've retreated to work some more on my Maple Branch keyblock as I'm still licking my wounds after the sizing debacle. (Although, looking over the sheets there were actually TWO usable half sheets.)
I had forgotten the obvious that while increasing the size of my drawing with the copier by 100% meant I'd have an easier time carving the details but the block surface area has quadrupled and it just takes longer to carve a large block. Especially one with lots of curvy, spiky lines.

This is a 16" x 20" block of which I'm really using just a 14 inch square ( and will cut off and use the long strip left over).

I'm working zone by zone. Outlining a leaf and stem; clearing a trench around the area with my larger U-gouge then going back in with the toh to outline all the lines before clearing the area. I'm trying to be good about clearing and cleaning up as I go so I won't have tons of cleaning to do when I'm done.

I have lost some bits and pieces of the thinner lines and I'll have to glue back in some wood to recarve a few key areas.

Inspired by Japan--Sketches

The Baren, an internet-based, international group of woodblock artists is sponsoring a benefit exchange of prints to benefit the Aid efforts following Japan's recent devastating earthquake, Tsunami and radiation disaster.
It is a themed exchange, titled "inspired by Japan" and the artists who have volunteered will print 31 copies to be exhibited and then, sold with all proceeds to benefit relief efforts.

My first idea was to depict a "Mofuku", the all black, mourning kimono of Japanese funeral rites. I had hoped to print a dark blue ground-to represent the water and the shadow cast of the kimono would be in the shape of the initial seismograph reading recorded off Sendai on that terrible morning.
It was to be dedicated to all those who lost their entire families and have no one left to mourn them.

But I've been a little uneasy.
I've been scouring the web and internet sites devoted to Japanese culture, Kimono styles and traditions, and specifically sites selling used and vintage kimonos to the west.
All have emphasized that the Mofuku, an all-black kimono with 5 undyed family crests is only to be worn by close relatives of the deceased and several sites
stated that they could not even show samples of Mofuku due to the sensitive nature of their use.
Since, my print would make the display of such a seemingly sensitive object not only visible but the subject and focus I have been hesitant to begin carving.

I showed some images of my sketches to my cousin's Japanese wife and she very graciously but pointedly confirmed my suspicions that while this would pose No issues to a Western audience, such a direct approach would make many Japanese uneasy. (As it did her).

So now I don't know what to do. I have several other sketches--some more or less complicated that I need to revisit and decide soon if I can make them work.
I would not normally be worried about appropriating ideas and images for my own work and purposes but in this context, a Benefit donation, it feels like I can not simply ignore such sentiment.

Kimono: Furisode/Tomesode? Sketch B
Fortunately, the traditions of kimono are fairly strict.
If the kimono doesn't have the 5 mon (crests) or has any other decoration, it is NOT considered Mofuku. But it then loses the connotations I was after about the terrible loss of life and consequent national mourning and international sadness.

Below was yesterday's sketch; done as Sami had Karate practice and I sat in the local coffeehouse with my sketchbook. Sort of a Japanese screen with an implacable wave. Perhaps a bit overdone/overwritten but it could be at least much more subtle and beautiful if printed well.

The Implacable Wave (sketch C)

Roses

The Pruner; Rose Garden, Exposition Park, L.A. 2011
My son made it into the State Science Fair and we drove to Los Angeles for two days of judging and exhibits. While he was explaining his project to the judges I went outside to explore the adjacent Rose Garden.
Exposition park has a very large formal garden planted to separate beds; one variety to each bed. So there are rectangles of white, red, yellow, mauve, purple and orange flowers. It was too hot to catch the scent unless you pushed your nose deep into the blossoms.
As I waited outside on a shaded bench surrounded by hundreds of roses and a fountain
and the Beaux-Arts Style architecture; I pulled out my always-handy but rarely-used field sketchbook and colors.
It was early morning and there were workers out pruning and watering.
This man was heavily built and had a baseball cap, slate blue outfit and rust colored apron and white work gloves as he went about the beds deadheading and pruning out the still in FULL bloom May blossoming.

This is somewhat compressed and made up. I did sketch the general layout but as I filled in the color I sort of abandoned the careful layout if favor of flowing greens and spots of color.

It seemed to be favorite walking spot of elderly Korean women with colored umbrellas (for shade--it was 90F degrees yesterday) and big sneakers and white cotton gloves.
They all stopped to look over my shoulder but were too polite to say anything.
I like the riot of colors even if I had wanted the man to be lost in a sea of flowers but he ended up being the focus and subject.