舟越 桂
 Katsura Funakoshi
「新作銅版画展/ New Intaglios」

2017年10月11日(水)〜11月5日(日) 12:00〜19:00



。 銅版画の技法用語の一つであるメゾチント(mezzotint)は、フランス語では、マニエル・ノワールと呼ばれ、それは「黒の技法」と訳されます。まさにそれを意味するように、漆黒の画面から鋭利な刃物などを使って輝きを引き出すようにして描くのがこの技法の大きな特徴です。


"New intaglios"- An exhibition of works by Katsura Funakoshi
October 11 (Wed.) - November 5 (Sun.)
Gallery KIDO Press (3331 Arts Chiyoda 204)

Gallery KIDO Press is holding an exhibit of works by sculptor Katsura Funakoshi titled "New Intaglios" from October 11 to November 5. Featuring six copperplate intaglio prints created by Funakoshi during a period of intensive production in March 2017, the exhibit will encompass original masters, trial proofs (printed in the course of production), and working proofs (in which the artist retouched images directly on the trial proofs). It is an attempt to shed light on the importance of prints in the context of Funakoshi's art.

As in the period of intensive production at Kido Press in 2013, mezzotints are again at the center of Funakoshi's work in this series.
One of the techniques of intaglio printing, mezzotint is called "manie`re noire" (literally "black technique") in French. True to this meaning, its hallmark is the use of a sharp, bladed instrument to draw by incision in a manner that will elicit a gleam from the jet-black surface of the inked print.

Funakoshi's printmaking, however, is by no means confined to the traditional techniques.
After obtaining rich half-tones by extensively applying sandpaper or a burnisher to the form incised with a scraper, Funakoshi always uses a burin or diamond needle to create fine black lines. The addition of these lines makes the images crisper, and this unique step is always included in Funakoshi's printmaking process. The added lines have a great effect for enhancing the presence of the finished works. It may also be observed that the incisions with a burin or diamond needle yield expressive printed lines imbued with a fullness of sentiment that could not be achieved by use of ordinary drawing materials.
The small piece titled "To Reach the Sea" was produced mainly with the distinctive lines made by burin or needle. It has 11 states (of trial proofs).
The states number 11 for "Blue Hood," nine for "Takeoff," 10 for "Helmet," 10 for "Words for the Sea," and six for "Youth." These figures evidence the huge number of steps and heavy loads of work in which Funakoshi immerses himself. The repeated trial proofs are nothing less than records of his struggles with intaglio printmaking.

Funakoshi's prints have been introduced on numerous occasions so far. For this exhibit at Gallery KIDO Press, we hope to endow the display with a "live" flair as only a printmaking studio that was the very site of production could do, so visitors will get a genuine sense of the energy expended by the artist in their creation. We urge all art lovers to witness the latest fruits of Funakoshi's relentless exploration of new horizons in the world of printmaking.



版画工房 shop