This wasn't as true when I started off with my first linocuts. Most of the time it's difficult for me to start a new print. Pencil field sketch of American Woodcock by Ken Januski. For a change I'll be able to see it in person. That work as well as my other works, and many of the other works in the show can now be seen at What's On - The Natural Eye. I've long admired from across the Atlantic the work in the show. I'm happy to say that my three most recent moku hanga prints were all accepted to this year's show! that includes the newest one, an American Woodcock at Magee Marsh, as seen at the top of this post. Since my wife's best friend moved back to England a few years ago I've thought that the next time I get in, assuming I do, that we should make a real effort to go to London to see the show. It doesn't quite seem real because I've never actually been to London to see the show. They are in fact with rare exception the artists who I most admire in the world who also use wildlife as their subject.īut there has always been a nagging problem. I had to pinch myself when I saw my work in the same online gallery, reflective of course of the real gallery, with so many artists I admired. As time went on much of the work in the show was made available online for both viewing and purchasing. But eventually I figured the VAT problem out and have been thrilled to be in the show three additional times. Since then I've applied numerous times, only stopping when either the costs got too high, or I couldn't figure out the newly required need for a VAT number for English tax purposes. The Mall Galleries were kind enough to send me a couple of photos of my work on the wall. By some miracle, still unexplained to me, they did make it through Customs and into the show. There was a bit of a problem with Customs that made me fear that even though I had shipped the works there that they still would not get in. So it was a great shock about 8 years or so ago to find out that two of my linocuts were chosen to be included in the annual show. I just admired the work that was in it so much that I wanted to also be in. It wasn't so much that I thought my work was good enough to get in. As the years went on and as I realized that artists I admired from Birdforum, like Nick Derry and Tim Wootton, actually were members and exhibited there I decided to apply for the show. The group was The Society of Wildlife Artists. To make a long story short it was through that book that I realized it was possible to make art based on birds that was lively, exciting and not totally removed from the world of art as I knew it.Įventually I realized that there was a particular group, with an annual exhibit that included some of the artists from that book but that included even more artists that I liked. Perhaps it was through the Wildlife Art section of Birdforum but I don't think so. I'm not quite sure how I stumbled upon 'Drawing Birds' by John Busby. I had no guidelines, no one I was trying to emulate. I still cringe when I look at the watercolors from that time.īut as bad as the work was there was another problem. Sufice it to say though that the transition from many years of abstract painting and drawing was not easy. Perhaps some day I'll show them as proof of just how bad they were. It was approximately 12 year ago that I made my first artworks using birds as subject matter. “I will continue my studies in traditional and contemporary mokuhanga in Japan next year, but always return from the security of this tradition to the painterly freedom of my personal practice”.Completed 8 block Moku Hanga print of American Woodcock by Ken Januski. She studied Japanese woodcut with Roslyn Kean in Australia, Eva Pietzcker in Germany, and at Mi-Lab in Japan, with teachers such as Tuula Moilanen (Doctor of Arts) of Finland, and Chihiro Taki (Master of Arts), Michiko Hamada (Master of Fine Arts), and Ayao Shiokawa (Master of Fine Arts), all from Japan. Sybille has a background of study in art and design, and after years of teaching and working-mainly in painting, drawing, murals and installations-she started working in woodcut in 2015. Originally from Germany, Sybille has lived in various parts of New Zealand with her family for the last 15 years. Materials used will be sustainable (wood, paper and water colour). While wood blocks will be provided to create printing, experienced tutor Sybille will teach the basics of creating your own wood blocks to be worked on beyond the class. At the end of this 5 day workshop, participants will possess a vital toolkit of printmaking techniques that can be easily built upon or added to their individualised art practice. Based on the principles of Japanese woodblock carving and printing (mokuhanga), this creative workshop will introduce the extensive possibilities of this low tech printing method.
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