Keiji Shinohara, Visiting Artist in Art and East Asian Studies, opened his new show at the DFN Gallery in New York City last week. Known for his delicate landscapes utilizing the traditional Japanese woodcut technique, Shinohara has received international attention and acclaim.
This show is distinctive for Shinohara in that it includes more of his paintings than his trademark woodcut prints.
“I have painted before, but mostly as a step for the woodcuts. These paintings are actually finished works.”
Shinohara said that art exhibitions are as beneficial for him as an artist as they are for the audience.
“It is always great to have a show in New York because you get to see all the work out together,” Shinohara said. “When you are working you are so focused on one piece. Also, to see [the reactions] and hear all the opinions really helps.”
Although he has been a part of over thirty solo and group exhibitions across the country and around the world, Shinohara still sometimes finds the process of advertising himself and his work a little strange.
“I am not a New Yorker—I can’t make small talk, I have a shy way of talking to people. But it is really great to see and meet people I know, especially former students,” Shinohara said.
Originally from Osaka, Japan, Shinohara came to the United States in 1985. Although he is technically a visiting artist, Shinohara’s sojourn at Wesleyan has lasted nine years.
“First I came here for two years, but I guess [my stay] has been extended,” Shinohara said, laughing.
Shinohara’s work is influenced by years of training in the ukiyo-e woodcut custom. Traditionally, three artisans carry out the ukiyo-e process: the artist, the carver and the printer. First, an artist draws the image. Next, a carver uses tools to re-create the design in several blocks of wood. Finally, a printer uses each block to create layers of color on the paper.
What makes Shinohara’s approach unique is that he does all three steps himself. To Shinohara, creative control is important.
“I like to be a part of the entire [progression],” Shinohara said.
Shinohara recently returned to Wesleyan after teaching abroad in his native Japan, where he created all fifteen pieces in the show during his time in Japan.
The time spent in Japan may have influenced his latest paintings, but Shinohara insists he does not generally follow any central theme and that the essence of a landscape is more important than realistic accuracy.
“My landscapes are usually from my imagination…I [start] by forming whatever happens.”
Shinohara is teaching Alternative Printmaking: Beginning Japanese Woodblock Technique at Wesleyan this semester.
“Sensei Keiji is a very charismatic, interesting teacher,” said Dan Zolli ’07, a student in the class. “Prior to meeting Keiji, the ukiyo-e style seemed very daunting to me as a process; the first day he showed us a collaboration he did with Chuck Close, with over 100 colors and explained his method in creating them. It seemed very exacting. He spoke of waking up in the middle of the night, not remembering which hue of red he was supposed to use next in the print.”
“I am very excited to be working with him,” Zolli continued. “Also, his life stories are amazing, [like] how he convinced a master printmaker in Kyoto to apprentice him. He used to be left handed you know.”
Shinohara pointed out how much he enjoys the liberal arts tradition at Wesleyan, even over more art-oriented curriculums elsewhere.
“I taught at RISD [the Rhode Island School of Design] and students narrowed down so quickly—painting only, or drawing only, or printing only. Everyone came from the same [background]…there is more opportunity here. You can be an art major without taking only art classes.”
Shinohara’s art is contained in many public collections, including the Fine Arts Museum in San Francisco, The Cleveland Museum of Art, The Harvard Art Museum and the Library of Congress.
Keiji Shinohara’s show is running through Oct. 9 at The DFN Gallery, which specializes in representational contemporary paintings and drawings by established artists. The gallery is located at 176 Franklin Street in New York City’s Tribeca, between Greenwich and Hudson streets. For more information contact the Gallery directly at (212) 334-3400.
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