Woodcut

Woodcut

Woodcut, the earliest printmaking technique, is a relief process which involves carving a design onto the surface of a wooden block.

Woodcut is a printmaking method that entails creating an image by carving into a wooden block using tools like chisels, gouges, and knives. Ink is applied to the raised areas of the image, which are then printed onto paper. The cutaway or recessed areas remain blank on the printed paper. Woodcuts can be printed using a press or by hand, where a spoon or a similar tool is used to rub the back of the paper for the printing process.

5 results found for "Woodcut"

Sculpture

Woodcutter (Bronze)

James Jean’s Woodcutter, consecrated into bronze, embodies the complexity and technical prowess of the artist’s timeless compositions.The artist’s wood gathering motif evolved from references to 18th century engraving and Ninomiya Sontoku – a prominent Japanese figure of self education and diligence. Woodcutter now takes form as a young boy realised in bronze, chosen for its longevity and lustrous energy. His gathered firewood reveals glistening faces representing Kami – omnipresent spirits originating from the Shinto religion who traditionally assist hunter-gatherer groups. “As the kindling is burned, the boy is thankful to the spirits – for releasing their energy and creating heat.”

Woodcutter (Bronze)
video

Emanoel Araújo

Emanoel Araújo has many legacies. In this Artist’s Artist, we take a look at some of his greatest works of art and curation.

Emanoel Araújo
Print

Sierra

Sierra carves a lone mountain from chance and serendipity.From thousands of generative outputs, Matt DesLauriers was struck by an artwork that broke the confines of his algorithm. Like a mountain reaching out from the landscape below, his code had arranged colours to cast an ‘alpenglow’. This optical phenomenon occurs when the sun dips below the horizon, bathing mountain peaks in a fiery glow.The dialogue of colour theory was pivotal in transforming the digital artwork into a print. The palette of DesLauriers’ algorithm, while striking in digital form, presented challenges for silkscreen printing. This led to a careful unravelling of the original RGB palette into CMYK components. 15 layers of ink flood a creamy off-white background, creating a textured depth reminiscent of a woodcut print. Finally, a layer of fluorescent ink is applied to the red and yellow areas, capturing the warm iridescent sheen of alpenglow.

Sierra
Sculpture

Trespassers Verdigris

Trespassers Verdigris, consecrated into bronze, embodies the technical prowess of James Jean and Haroshi’s collaborative composition.Axe thrown over his shoulder, a mischievous Woodcutter emerges from the forest with a freshly-felled GUZO under his arm. Engraved faces look out from the wheels of his rippling skateboard, inspired by the tree-dwelling Kami spirits said to assist hunter-gatherers in Japanese folklore. The delicate texture of GUZO's body is derived from recycled skateboards – stacked, glued and carved by Haroshi to create his sculptures – and calls to themes of community and counter-culture.Each sculpture is finished with distinctive verdigris pigment, creating a unique oxidised green tint on the surface of the bronze.

Trespassers Verdigris
Print

Trespassers

James Jean’s Woodcutter meets Haroshi’s GUZO in a first-of-its-kind collaborative print.Once strangers on opposite sides of the world, a kinship between the two artists ensued after noticing similar motifs in their work online. Both were riffing on traditional Japanese woodwork, and ideas for a collaborative edition soon followed.Axe thrown over his shoulder, a defiant Woodcutter emerges from the forest with a freshly-felled GUZO under his arm. Faces look out from the wheels of his rippling skateboard, inspired by the tree-dwelling Kami spirits said to assist hunter-gatherers in Japanese folklore. The distinctive patterning of GUZO's body is derived from recycled skateboards – stacked, glued and carved by Haroshi to create his sculptures – and calls to themes of community and counter-culture."It’s uncertain whether he stole or rescued a much coveted Guzo, but what is clear is that he is a trespasser, and he has an expression of defiance as he pushes his way through a passage less travelled."Each print is produced by Lamina, founded by James Jean and Brad Keech. The embossed prints are delicately finished with metallic foil, placing an emblem for each artist above his signature.

Trespassers

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    Parra's studio, with Parra at the centre, his back to the camera as he works on the large painting takes centre stage, showing a faceless blue woman in a striped dress, painted in red, purple, blue and teal. The studio is full of brightly coloured paints, with a large window on the right and a patterned rug across the floor under the painting.