Hiroshi Ishizuka

Indigo blue & black ink

The only explanation I’ve found for Ishizuka is here. I was curious about the technique and translated the accompanying text which is apparently written by the artist.  Definitions were cloudy despite work with dictionaries, so I called in my “resident” translator (son) and his results (thankfully) are what you see here.  At the end I added a few definitions.:

これまで「板締め染」の技法で作品を制作してきた。
Up to now, I’ve produced works using the technique of itajime-zome.

今回の作品は布を砂利とステンレス板、市販の樹脂製品で挟み藍と墨で制作した。
These works were produced with indigo and ink by placing fabric between gravel and stainless plate, and commercial resin.

布にはシワが遺り従来の板締め染とはかけ離れた仕上がりになったが、手の跡を拒否するような簡素で明快な板締めの特徴は受け継がれていると感じる。
Creases are left behind in the cloth, producing quite a different finish from traditional itajime-zome, but there is the sense that clear characteristics of itajime are inherited due to a simplicity that would reject (or eliminate?) traces of the hands.

インスタレーション作品を中心に展示する。(石塚)
The installation works are displayed in the center.

(石塚・Ishizuka)

A few words of note:

板締め染め – itajimezome – clamp/board resist dyeing

技法 – gihou – technique

砂利 – jyari – gravel

ステンレス板 – sutenresu ita – stainless plate

シワ – shiwa – wrinkle/crease

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2 Responses to “Hiroshi Ishizuka”

  1. aracne Says:

    Amazing what you can do with technique and imagination.

    • Susan Says:

      It is, and I’m intrigued with his materials. The only thing that comes to mind at the moment is ‘juxtaposition’ and not sure if that works or not.

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