The images seen in my work are not by a pigment sitting on a surface, as of a conventional drawing, but by a technique normally associated with secret correspondence used in the past, called “aburi-dashi” in Japanese.
Using fire, acid and water the images are made as the integral part of the paper. The resulting image contains a level of fragility and notion of death within it by nature. In my work the connotation of transience associated with the methodology is important as it highlights a position at the opposite end of the spectrum from the monumentalism, even though the actual physicality of the drawing endures.
A view of “Study of Eastern landscapes II”
190 x 2000mm approx.