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Miyuki Okazawa

Shared Lines: Christchurch / Sendai exhibiting artist


I have been working at my print studio“ZON”here in Sendai, focusing on copperplate printmaking, as well as drawing, acrylic painting, and making bags and images from fabric. Let me talk first about my copperplate printmaking.


タイトル『沢山の意味1103』size 108×120cm





“Many Meanings” 108×120cm

This piece is made from two kinds of prints, each 36cm x 60 cm, put together. I’m interested in how every print from the same copperplate creates a different impression, so to explore this potential, I created this piece by making prints from the same plate over and over. I saw I could make large intense pieces. So much can be expressed in a simple form, inside that shape. That one giant shape is built up by overlapping this basic image, representing all the many human words and ways of thinking. I am making many of these as a series, “Many Meanings.”For me, making art is an experimental process and I want to challenge myself with many new techniques and forms of expression. Copperplate printmaking is something.


タイトル「Crop」サイズ25×25cm 木製ボードにアクリル


“Crop” 25cm x 25cm  Acrylic on wood

I’m making 2-dimensional works the size of this piece using paint and black varnish as a way to train myself to create larger images. As these materials are different from the ones used in copperplate printmaking, I make new discoveries as I get into the image.  I come up with the title once I finish the piece. Black varnish is oil-based, and acrylics are water-based, so blending the two together is difficult, but somehow I’m able to experience these beautifully layered forms.


ドローイング タイトル「No title」サイズ約A3 レオバルキー用紙に鉛筆、黒ニス溶剤の黒ニスは私にとって制作過程に欠かさない物になっています。松ヤニ、蜜蝋、アスファルトを調合し作られた黒ニスは美しいセピア色です。まず用紙を霧吹きで湿らせて上からテレピンで薄めた黒ニスを垂らすと興味深いムラ模様が浮き上がります。そこからイメージする物、形、空間を鉛筆で描いて行きます。

“No title”  Drawing  A3

For my process, I have to have pencil, black varnish, and black stain on REOBARUKI (NOTE: It’s some kind of thick paper made from bamboo pulp?) paper. Black varnish made from a mix of turpentine, beeswax, and asphalt makes a beautiful sepia color. First, I moisten the paper with spray, then, when I dribble the black varnish made with diluted turpentine it forms a very interesting uneven pattern. Then I draw the image in pencil, creating shapes and negative space.





Along with my copperplate prints and 2D work, I’m also making bags and tapestries with my original designs.Using stencils and vinyl chloride drypoint to make prints on canvas, denim, and T-shirts. I held a fabric workshop in this exhibit.

 I want to challenge myself to further explore printmaking on fabric and the possibilities of 3D expression.

That concludes my presentation of my work. Thank you so much for your time.

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