endi poskovic

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This week of December 17, 2012, I have been a visiting artist at the Beijing Central Academy of Fine Arts.  My friend, artist Chen Qi, whom I have exhibited with in several survey exhibitions in China and Europe, invited me to visit his studio.  Chen Qi’s work in printmaking is the most fascinating I have seen in China, and I would say, anywhere. Using large, custom made sheets of hand-made paper, Chen prints by rubbing ukiyo-e style using water based inks without printing press. Each print presented here was produced applying over 100 individual woodblocks.  He pulled out many of his prints and blocks.  It was just wonderful to see this great work in person.

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Anatomy of a print: applying a tusche-wash sky image onto a large lime-stone, lithograph from two stones, produced at NSCAD print studios

Test Stone with a Rock III study (Distant View after H. Seghers) film still XX 

Many of my recent lithographic images utilize freehand tusche-wash applications in the areas of sky, an approach quite different from the treatment of the lower part of the image, which is usually a combination of careful design consisting of digital bit-mapping, transferring, effacing as well as various other additive and subtractive drawing methods. In many ways, the amalgamation of the two has allowed for a range of dichotomous representations to form: those that depicts composite narratives, appropriated and invented  terrains coupled with various structural forms, and the other that are suggestive of open spaces, such as skies, clouds, rain, water. Both are, in fact, pure inventions.

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After posting images from a visit to Chen Qi’s studio in Beijing last Wednesday, I am including several detailed images of his great woodcuts. Chen Qi’s woodcut prints are cut in pear plywood blocks and then hand-transfered onto traditional Chinese xuan paper applying water-soluble pigments. While the prints reflect the long tradition of woodblock printing in China, in Chen’s choice of materials and working methods, the prints challenge, in both the detail and size of their description, any misconceptions of the woodcut as a small scale, archaic and totally limited medium.

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I am back to China this week as a visiting artist and a guest of the Beijing Central Academy of Fine Arts.  This is my third trip to China this year, and I cannot help but think of great many food stands one encounters traveling through this extraordinary country.  Food culture In China developed over the course of several thousands of years and many different cultures impacted the cuisine.  This particular selection of images is not your typical breakfast food, but visually, it is mind-boggling and I could not resist not posting it.  Bon appetite!