2015.7.13−7.25■Eri moon "The Blind Work"

■展覧会
 について

Eri moom

ホワイトガソリン、腐食液、防蝕液、松脂……と、聞き慣れない化学的な液体類を用いて制作する銅版画(エッチング)の技法の中でも、
ドライポイントはより直接的な技法、ニードルで銅板に傷つけていく"ドライポイント"を主とした作品展です。
描く、削るというより傷つけると言ったほうがふさわしいほど力強い線です。荒々しく、とても美しいです。

一般的に銅版画制作は、非常にゆっくりとしたペースで進んでいきます。下ごしらえの量が多く、待ち時間も長い。
版画故に反転しないと分からないので、プレスし終わるまでどうなっているか作者自身分からない。
そんな手探りのような制作過程、暗闇の中を歩いているかのような心細い中での指針は何か。

この"ブラインドワーク"を続ける事によって、解かった気がします。

皆様にはそんな"目隠し状態"の先をご高覧頂ければと思います。


Eri Moon creates intimate figure studies exploring an ephemeral presence of the female form in isolation.
Deep in character, yet delineated by fleeting, dynamic lines, her works are characterized by stillness, clarity and a sense of self-reflection.

**** On this occasion, I am going to exhibit series of copperplate prints (etchings), which I have been working on since 2009.

Many kinds of liquid chemicals, which may be unfamiliar to some people, such as white gas, etching solution, anti-corrosive solution,
and resin are used for copperplate printmaking. Among various techniques, the exhibition mainly consists of “drypoint” prints, in which images are directly incised onto a plate with a needle.
The way of incising these powerful and bold lines of drypoint has a feeling similar to making scars, not just drawing or engraving. The lines with such wildness are extremely beautiful, adding depth to the art of drypoint.

The process of copperplate printmaking is generally very slow. It requires a lot of preparation and a long wait time.
Because of the fact that everything prints in the reverse, even artists themselves are not exactly sure about what will finally come out until the press is done.
It is as if I’m walking in the dark and fumbling around, feeling insecure and uneasy. And I had been wondering: what is this thing that guides me through the darkness?
I think I have figured it out as I have continued this blindfolded work.

I hope you will enjoy discovering the scenery beyond the darkness.