Nexus
In May, Kate Oh Gallery presented "Nexus", a special Fine Art Print show presenting works of three emerging printmakers: Ali Norman, Keigo Takahashi, and Kristine Virsis. Each artist has a unique process of building their prints, layering different methods and images to achieve rich, textured surfaces and the works combine pattern and geometry with organic, natural forms to create mesmerizing, stratified worlds. In the interview, the artists talk more about their art practices.
1. When did art become an important part of your life?
I’ve loved drawing and chemistry for as long as I can remember. I started working with intaglio when I was 18 and totally fell in love! It’s been a huge and essential part of my life ever since.
2. Please tell us about how you became interested in your printmaking methods and why you find that interesting. e.g. any story about the art-making process/ practices etc
I really enjoy the duality of a technically challenging process that mixes with the intuitive nature of drawing. Copper has an intoxicating energy that gives tactility to the work, and the mastery of acids is exciting! Even the smell of the ink brings joy to my process.
3. where do you get your inspirations? is there any reference/artist you get an idea from?
I mostly work from dreams and interpersonal relationships which I illustrate through narrative. I treat each work as a magical chalice, which is filled with the information meditated upon while drawing. The resulting plates are etched and printed as a totem-like reminder of a time and place.
4. What do you want to talk about through your images?
I like to find a balance between craftsmanship and exploration of the self. I would encourage the viewer to, while following the lines of the work, meditate upon their current state of mind and their perception of the symbolism. I think the work sparks common understandings of the macrocosmic world, while allowing personal interpretations of one’s microcosm.
1. When did art become an important part of your life?
I was always into arts, crafts or hand making things when I was kid. and I got opportunity to work at printshop when I came to New York around 2000. that was my turning point. I didn't go to art school, I didn't know anything about printmaking, and I didn't have any experience working at printshop.
Luckily, that printshop was mainly making prints for Sol LeWitt. and I had opportunity to learn all process and technics from masters at one of the top studio. I found myself fascinated by the process and enamored of art. Since then, the art especially print / printmaking become large part of my life.
2. Please tell us about how you became interested in your printmaking methods and why you find that interesting.
My works are often affected by being working printmaker. when I started working at the printshop, I was mainly working on relief prints. I made lots of woodcut print that time. then when I started making silkscreen prints more at work, I also have become interested in silkscreen. Sometimes my prints effects to job as well. I like to try new idea or technical challenges to my works as test or experience first. then using those knowledge or experience into projects at work.
3. where do you get your inspirations?
I am big fun of minimal/ conceptual art, every time I visit Dia beacon, I always get inspiration. and I also have been interested in nature a lot. I have been seeking to combine those things together into my prints.
4. What do you want to talk about through your images?
Image of my works are often from creased paper. It is the antithesis of the flat, clean paper that I use as working printmaker. but I found contradictions of precision and disorder, geometry and representation, flatness and dimensionality in an image of malleable space. the creased paper is opposite in the strict standard of print studio but I fond interest and beauty in it.