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©Copyright YUKIHASEGAWALITHOGRAPHY, All rights reserved

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statement
 

 

 

 

 

 

リトグラフは、中世代中期のジュラ紀に堆積された石灰石層から切り出された厚い石板を版とする。

水と油の反発作用の原理を利用した化学版画の技法は、200年以上前に発明され、

現在も引き継がれている。版は表面を研磨して、繰返し使用する。

石版は冷たく、過去のイメージが浸透したような記憶の重みを感じる。

 

ぼんやりとした記憶のように

レイヤーで構成された版画はとても不確かなものに思える。

反転したイメージだけを紙の上に残して、版は作品から姿を消してしまう。

まるで誰かが影を残して、そこから去ってしまったように。

私はそこに残ったぬくもりを探している。

 

石の重さや匂い、温度を感じること

インクの黒さ、粘り、硬さ

紙のぬくもりを感じること

版の表面が乾いてゆく様子

砕かれた貝の粒子、ゴムの樹液の色

石が酸に反応して弾ける音

版にイメージを浸透させている時間

数々の工程を経て、やがて最高の刷りに辿りつく

刷り上ったいくつものイメージ

刷り終わった版、版上イメージを洗い流す

石にそっと触れる

 

生きているって、どんな感じ?

 

Lithography: heavy plate accumulated in the Jurassic period, the wet odor of it, temparature, darkness of ink, density and viscocity of ink, warmth of paper, the stone surface getting dry, crushed shells, gum arabic, the sound of acid melting the stone, the hours you wait for the plate getting ready. So many processes lead to the best print, so I chase those vague images. Somehow I touch the stone with my palm then, as I can hear someone asking me, “How does it feel?”

 

 

 

As an ex-dressmaking student who always felt uncomfortable about sawing all different parts together for one “clothes”, the technique of lithography, adding layers over and over on one sheet of paper, seemed so natural to me. Not only I enjoy the time-passage of polishing and printmaking, but it is also enticing to feel the “nature” when touching the surface of the stone plate. I am also greatly attracted to, namely, the contradiction that no trace of plates exists on artwork, the displacement appearing between layers, and the mirror image of two-side world. My aim is to connect the gap between two-side world, using the color black, which absorbs the time and space. To me, the balance of black and white represents one world, made by warp and woof.

The word “tears” is always on my mind when producing lithograph. Tears come from various emotions, but those emotions disappear after shedding. I am interested in those disappeared emotions and remaining temperature.

I think the lithography is a crystal of accidental images, made from non-existing or remaining editions.

As most of my works consist of monochrome, I always consider the balance of quality and quantity of black, and also the balance of quality and quantity of lithography. The expression making from the distance between editions, originality coming from replication, the time and space of images flowing from the edition to the paper, those are the specialties and texture of lithography I respect the most.

I remember the world looking through the microscope when I was a child. I saw the infinity in one drop of pond water with light. I want to reproduce the world of one drop of tears and its temperature, with the feeling of vitality.