Out of the Mud XIV
Takeshi Takahara: IMPERFECTION
Takeshi Takahara is professor emeritus of printmaking from University of Michigan. Previous to his U of M tenure, he taught drawing and printmaking at Grand Valley State University on the other side of the state. I recently had the opportunity to interview him in regard to his current, masterful show at WSG. Here it is!
Q. You combine intaglio and woodcut printmaking techniques in the large pieces in ‘Imperfection’, your new show at WSG. When did you first start combining the 2 techniques and can you tell me what led you to that 1st time you used them together?
A. I combined two techniques in 1970 for the first time when I was in graduate school. But I used woodcut for the current works for a different reason. As I no longer use toxic acid to etch copper plate to achieve a various tones and shapes, I came up with using woodcut for the areas of colors I needed, instead.
Q. Your color choices are delightful in a way that is both pleasing and provides a bit of tension. Will you lead me through a little bit of your thought process in choosing colors/mixing inks?
A. 2. It takes a number of trials by mixing the colors between a choice and a decision. I take a number of proofs as each work evolves. I’ll look at these proofs, contemplate, then begin to introduce some colors, quite organically.
Out of the Mud XIII
Q. In your artist’s statement, you address a non-toxic method of producing intaglio prints. What led you to that discovery, aside from the obvious reasons of wanting to minimize health and environmental risks?
A. This is related to my solution at the #1 question. When I retired from the University, I realized I no longer have extensive facilities including good ventilation. But I didn’t want to compromise the effects I could achieve in traditional Intaglio techniques as I loved the medium. It was trials and errors before arriving to the current methods.
Q. The alternative intaglio technique is fascinating. How long do the plates stand up to being put through the press?
A. I haven’t tried to make large editions. I think you can run through easily 20 or even more, but I haven’t done it nor am I interested in it.
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Q. The intaglio lines in your pieces are strong , gentle, descriptive and seemingly effortless at the same time. Speak a little bit to your planning and drawing techniques, please. I’m asking this because what you draw on the plate is going to be a mirror image after it’s printed.
A. I love to draw. Printmaking relies heavily on drawing. I use an etching needle point to scratch the surface as you would use pencil on paper. It is very direct.
I am seldom concerned with a reversed image when it’s printed. It will get awkward when you enter into that frame of mind.
Q. You address your title ‘Imperfection’ in your artist’s statement at the gallery, but could you please talk about how your ideas of perfection /Imperfection have changed over your years of art-making?
A. I applied title “Imperfection” not for the skill levels, but for a question we ask often about life, which are “mysterious” and “unresolved”. The fragrance you can not smell.
Transpiration 2
by Valerie Mann