"My Kingdom for a Horse" Images of Horses by Japanese artist Katsunori Hamanishi visit Davie Florida |
3 Horses (close-up) © 2008 Katsunori Hamanishi |
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Window-No.6 © 2006 Katsunori Hamanishi |
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About the Show:
“Three Horses” is one of the recent mezzotints by Japan printmaker Katsunori
Hamanishi. A new element of an ongoing series of windows is in the addition of
images of horses from in a window/barn structure. One of
Hamanishi’s earlier window prints “Window #1” is part of the permanent
collection of the Morikami Museum in Florida.
The subjects of Hamanishi’s work embody traditional Japanese symbol and images
combined with a contemporary interpretation. The brilliance of gold leaf, the
subtle quality of mica dust and the refined texture of the mezzotint process
lends a magical quality to his prints.
About the Artist
Katsunori Hamanishi: Like the surrealistic paintings of Dali and Magritte,
Hamanishi's mezzotints combine nature and abstraction. Born in Hokkaido,
Hamanishi studied painting and graduated from Tokai University with degree in
Art in 1973 and next studied at the University of Pennsylvania on a grant from
the Cultural Affairs Agency, 1987-88. He has won numerous prizes for his
work, including the Ibiza International Print Biennial, the Grenchen
International Triennial in Switzerland and the Valparaiso International
Exhibition in Chile.
Now living in the Tokyo area, Hamanishi’s primary focus is printmaking.
His works are in the permanent collections of the Metropolitan Museum and the
MOMA in New York; the Art Institute, Chicago; the Library of Congress, DC; The
Morikami Museum, Florida; Taipei Fine Arts National Museum; Krakow National
Museum; Osaka National Museum of Art and others. In September 2004 he was
honored in a two-man show along with venerated mezzotint artist Yozo Hamani at
the Worcester Art Museum in Massachusetts, where he presented a demonstration of
his own techniques.
The Fine Art of the Mezzotint:
Few contemporary artist have the time and patience to rock a plate with a
mezzotint rocker long enough to produce the velvety black impression so
characteristic of the best work. Hamanishi explains: "It is patience that is
necessary to produce the jet-black texture peculiar to mezzotint; the foundation
of infinite tones from black to white. This is similar to the grounding of an
oil painting before the image is applied. To prepare the copper plates may take
10 to 13 hours using a process called burring.
A comb-like tool is rocked methodically, vertically, horizontally and diagonally
over the plate until it is completely covered with impressions made by its
teeth. It is after the plate is burred that the drawing of the image into the
prepared surface begins".
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