Thursday, April 28, 2022

Continuity of Medium or Continuity of Subject

Bobolink at Dixon Meadow Preserve. Moku Hanga by Ken Januski. Copyright 2022.

Though I've been finished with the moku hanga above of Bobolink at Dixon Meadow above for quite a while and am almost finished with a new one, Nashville Warbler on Bean Trellis in Winter, proofs of which are below, I haven't written about them or shown them here.

There's a simple reason: I didn't know what to say. Given my occasional loquacity that might be hard for some to believe. I suppose it might also be related to not wanting to repeat myself. In any case I've been happy with my recent moku hanga prints but I just haven't known what to say about them. I think that they should speak for themselves.


Nashville Warbler on Bean Trellis in Winter. Moku Hanga proofs by Ken Januski. Copyright 2022.

At the same time I've also been doing field sketches of birds,  almost all of them about 3x5 inches big and none I think taking more than five minutes. It may be that it's trying to find a link between them and my moku hanga that has stymied me. They are such different methods.

Even my prints have shown different methods, some being more concerned with line and carving like these two recent ones, but some if not most also being concerned with design, color, texture, etc. In the Nashville Warbler print I've gotten involved with texture, something that I've previously ignored to a large extent in moku hanga. Oddly one reason I started with moku hanga is that I liked the flat color that could be created with it. Now I no longer, at least temporarily, want that flat color. Who knew?

And yet these are all somewhat formal concerns and that in fact unites them in a way. That is not at all true with field sketches. In them I'm trying to capture the likeness of a living being that is right in front of me and may bolt at any minute. That is not formal at all. I still make some formal decisions in the few minutes I spend on these but that is a minor concern. My main concern is capturing the living thing that is right in front of me, not just in terms of shape and markings but probably more in terms of movement and liveliness. I like these sketches to look alive, something that more developed sketches, particularly from photos, often lack. I will take liveliness over detail any day.

But for all that is still hard to connect them with my prints, though often my prints are based on them.

Sumi brush pen field sketch of  Blue Jay by Ken Januski.  Copyright 2022.

Sumi brush pen field sketch of Eastern Phoebe by Ken Januski. Copyright 2022

Sumi brush pen field sketch of female Northern Cardinal that appeared outside my studio window.Copy right 2022 by Ken Januski.

Sumi brush pen field sketch of Palm Warbler, the first seen this year. Copyright 2022 by Ken Januski.

Sumi brush pen field sketches of Tufted Titmouse by Ken Januski. Copyright 2022.

Sumi brush pen field sketch of Yellow-rumped Warbler seen today at Houston Meadow. Copyright 2022 by Ken Januski.

Because I often switch media, or often styles within the same medium, I may look a bit flighty or at least not committed to a particular medium, such as moku hanga. I have wondered about this. And I've decided that my commitment is to a subject, the natural world in particular birds.

During my formal artistic education the last thing I wanted was subject matter. I could be pretty ruthless in making sure that there was none, not even any vague reference to something from the physical world. But over time I decided that this was just silly. You have just as much artistic freedom with a subject as without one, and all in all I think subject matter both makes the art more interesting and more rewarding.

So my art may lack much continuity of medium over the last 10-15 years. But it has a very strong continuity of subject and I'm perfectly happy with that.

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