Here Comes the Wind God
This image is based on one of the oldest Shinto deities, whose statue is often seen at temple entrances as a guardian from natural disasters. Over the centuries, it has appeared in artworks of various genres. The woodcut is handprinted on two sheets of washi paper utilising a traditional baren instrument. The grains of the woodblock can be seen in Nana Shiomi’s trademark ochre floors and red background.
In collaboration with Hanga Ten, this is part of a series of prints celebrating the works of contemporary Japanese printmakers.
|Dimensions||75 x 95cm|
|Fabric & material||Woodcut|
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Service Update (updated 19 March 2020)
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Nana Shiomi’s interest in printmaking developed at the age of twenty. She chose the traditional Japanese woodcut technique – using the “baren” to spread the water-based ink and let it soak into the Japanese paper – as her means to communicate her ideas, and this was an integral element in determining her style. She is fascinated by the fact that the plate and the print are always opposite configurations and soon encountered dualistic principles everywhere. Her first solo exhibition in 1981 was entitled “Double Faced Theatre”. It is no coincidence that most of her work is composed of two opposing sides.
Shiomi’s works ask questions about the space beyond, or indeed the world beyond. There may be a room beyond the door, but then there is a landscape or a seascape, signifying the existence of a different world. One asks what lies beyond the picture. In Buddhist terminology, the “other shore” means the state of enlightenment, as well as the world of the dead. Is it possible that this side on which we live is indeed the other side?