View full screen - View 1 of Lot 82. Portfolio 1990.
82

Shiraga Kazuo

Portfolio 1990

Shiraga Kazuo

Shiraga Kazuo

Portfolio 1990

Portfolio 1990

Shiraga Kazuo

1924 - 2008

Portfolio 1990


The complete portfolio, comprising seven screenprints in colours, 1990, each signed in pencil, numbered 1/60 (total edition includes 20 artist's proofs), accompanied by the justification page, published by Hoshida Graphics, Japan, on BFK Rives wove paper, loose (as issued), contained in the cloth-covered portfolio case

each sheet: approx. 1007 by 785mm 39⅝ by 30⅞in

portfolio case: 1021 by 798 by 41mm 40¼ by 31½ by 1⅝in

The portfolio is in good condition, some sheets with occasional faint surface soiling in the margins. (The portfolio is accompanied by seven frames).


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Kazuo Shiraga and Gallery Kasahara, Japan

Kazuo Shiraga

 

Printmaking was something I had never been involved with until 1988. More than a decade ago, the owner of Gallery Kasahara took me to a printing studio in Nara. In printmaking, the artist draws onto a thick stone slab with a special black ink, and then the drawing is proofed and printed. All these processes seemed like hard and intensive work as the artist has to draw onto the slabs with precision, making sure all layers of the print match. Once I understood the implication of these laborious tasks in the process of printmaking, I realised this medium was not for me.

 

From that point onwards, I gave up on printing. As mentioned previously, it was not until 1988 that I created my first print, an official poster for the Seoul Olympics at Hoshida Printmaking Studio in Kyoto. Mr. Lloyd Shin, a Korean gallerist based in United States, took the role of planning and executing the creation of these Olympic posters. Artists from major countries around the world were selected to create prints that would be used as the original images for posters, and I was chosen to represent Japan in this big role.

 

Not long after this decision was made, Mr. Lloyd Shin came to Japan and I had a meeting with him. As I listened to him, I resonated with the significance of printmaking and decided to undertake the project. Shortly before this encounter, I had been asked by the Hoshida Printmaking Studio to create some prints, so I agreed to do so, and after much effort, I produced two works. One of them, "The Passionate Winner," was chosen as the original for the poster, which was printed at the Hoshida Printmaking Studio and sent to Korea. I was then able to participate in the sports festival of the century.

 

However, while making this print, I had no idea what to do first, and I did struggle to even make a start. However, I suddenly realised that I could just use my usual method of making oil paintings. My painting method is automatic - without thinking too much about the process, I could just let my mind go blank, paint more and more, and print more and more. I thought about interesting shapes and colour tones, and they would come naturally to me. I became confident with my printing practice and way of working and created this series of seven prints. I painted with a variety of materials, including a large, thick, bristly Sanba-deer-hair brush, palm brushes, and rags, to create various touches, blotches, and splashes. I hope that the viewers will be moved by the powerful screen that unites them all. The Hoshida Printmaking Studio also devised a new way of printing that had never been done before. They took great pains to make the print thicker and thicker by printing over and over, to create a raised surface, and to create dry and glossy areas by using different qualities of ink.

 

I think of this series as a drama created by mind and matière. I finally got to execute this series at Kasahara Gallery, of Mr. Kasahara, who was the first person to advise me to get into printmaking. This was not a mere coincidence.

 

 

 

 

白髪一雄

 

版画作成というものは、私にとって一九八八年まで無縁であった。

十数年以前、カサハラ画廊の主人の薦めで、奈良県の或る版画工房へ見学に行った。

 

分厚いつるつる光る石の板に、作者は黒い特殊なインキで絵を描き、これが製版され刷られるのだという。何枚の石版がきっちり刷り合うように、描かねばならない手数のかかることを、自分がやるのだと知った時、私は版画制作は自分に向かないと、思い込んでしまった。

 

それから以後ずっと私は、版画制作を諦めていた。先に言ったように一九八八年に京都の星田版画工房で、ソウルオリンピックの公式ポスターに使う版画を制作するまで、私は版画制作とは無縁であった。

 

このオリンピック公式ポスター原画の版画に関する企画と実行とを受け持ったのは、アメリカ在住の韓国の画商ロイド・申氏であった。世界の主な国々から一人乃至数人の美術家が選ばれて、版画を制作しそれをポスターの原画にしようという試みであった。そしてこの大役の日本代表に、私が選ばれたのである。

 

この事が決定してから日ならずして、ロイド・申氏が来日して私は彼と会見した。話を聞いている中に、私は版画制作の意義に共鳴して、引受けることを決心するに至った。丁度この少し前、星田版画工房から版画を作ってみないかとの話があったので、それに乗っかる形となり、苦心の末2点の作品を作り上げた。その1点「熱情の勝者」がポスターの原画に決まり、星田版画工房で刷られて韓国へ送り出された。そして私はこの世紀的なスポーツの祭典に参加することが出来たのである。

 

しかしこの版画の制作にあたり、私は最初どうしてよいのかわからず、手のつけようも無い状態であった。

だが或る日突然、いつもの油絵制作方法をそのまま活かせばよいのだと気付いた。私の作画法はオートマチズムである。だから何も考えないで無心になって、どんどん描いておかまいなしに、どんどん刷り重ねて貰えばよい。そこには勝手に面白い形や色調が出来るであろうと。

 

なる程実際にやって見て、これが正解であることがわかった。

 

さて今回発表されることになった、7枚1組の版画シリーズは、このときの経験を活かして、さらに一歩押し進めたものである。

 

大きく太く毛のあらい山馬筆や棕櫚の刷毛、ぼろぎれ等いろんな物で描いて、いろんなタッチや滲みやとばっちりを作り出した。

 

それから渾然一体をなした迫力のある画面に、観る人達が感動をおこして下されば、何よりと願っている。

 

星田版画工房の方でも、今までに無かった刷りの工夫をして呉れた。何べんも刷り重ねて分厚くし、盛り上がりを作ったり、インキの質の違いを利用して乾いたところや、艶っぽい部分を作るとかの苦心がなされている。

私はこのシリーズは、精神とマチエールが作り成すドラマだと考えている。

そして、私に最初に版画制作を薦めた笠原氏のカサハラ画廊で、このシリーズを発表することとなった因縁が、不思議に思えてならない。