Etching
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"Zelfportret met de onderarm leunend op een stenen dorpel"
"Self-portrait leaning on a Sill"
"Selbstbildnis, auf eine kleine Steinmauer lehnend"
Etching | Radierung
From the exhibition "Dürer, Munch, Miró. The Great Masters of Printmaking" in the ALBERTINA in Vienna
This morning, I found these beautiful ice etchings on the door that separates our kitchen from the back porch. They are incredibly intricate and beautiful. It seems like every time i start to complain about the cold, I am given a subtle reminder of winter's beauty in one form or another . . .
Much nicer if you View On Black
The earlier drawing / had to reflect the conditions /
of plate and erosion by time / and the memory of / some great artist...
Soft ground (vernis mou) on zinc with twigs and dried flowers
etched in nitric acid
on hahnemuhle etching paper
Ink Charbonnel etching ink black
In composing this image, I focused on the rockface etchings the elements had inscribed over the years. I then solarized the image. Solarization is a phenomenon in photography in which the image recorded on a negative or on a photographic print is wholly or partially reversed in tone. Dark areas appear light or light areas appear dark.
Kananaskis Country is a park system situated to the west of Calgary, Alberta, Canada, in the foothills and front ranges of the Canadian Rockies.
etching and aquatint with chine collé.
[i carry your heart with me, i carry it in my heart
i'm never without it.]
{ee. cummings)
Remote landscapes:
"The impression of
two sides of one
eroded surface
became a delicate
array of lines."
(etching, two sides of erodes plate of zinc, 2019-2020, 20x24 cm)
South Coyote Buttes, Vermilion Cliffs Wilderness, Arizona
Still life is all around me, and time is so short in the late afternoon. I am racing up and down sandstone troughs, following curves and benches among the beehives and turrets, deep in the Paria wilderness, with a vague idea of where I need to be when darkness falls. On this small plateau, a whirlwind of Navajo sandstone greets me, delicately lit as the sun flashes between intermittent clouds. Inanimate, the formation swirls, like a vortex before my eyes. It's just sand, I think. Remnants of a sand dune sea, whose inner layers cemented as more and more sand piled on above, tinted by the minerals that leach out as water percolated through, sculpted in time by the endless wind. That wind reclaims each grain of sand, one by one, honing the edges as it engraves a description of time. I am outside a frozen vortex, but within my own, not as visible as this. And for awhile we collide and move as one. The energy is different, slower. It's not so unlike us, when our circles of life meet, and move, together, against the wind/with the wind. But sharing souls in real life is different than still life, and I step away, with a last look at the aura etched in stone, just as yours is etched in me, always.
"The red mountainfish / resides at the border of / green land and yellow sky."
(etching, ecoline ink, size image 14x10, paper 24x21 cm, www.meurtant.exto.org)
Understanding the causes
of being and beings
is a task without end
Het doorzien van de
achtergrond van het zijn
en de wezens
is een taak zonder einde
Etching, aquatint, image 15x9 cm, paper 21x24 cm
(c) Drager Meurtant, 2019
Tidal estuaries carve their own artwork on the salt plains of the Kimberley region, Western Australia.
Detail of the etching Sanjūsangendō (1976) by Tanaka Ryōhei.
Seen at the exhibition of Japanese etchings by Tanaka Ryōhei in Japan Museum SieboldHouse Leiden NL.
Tanaka Ryōhei (1933) believes in perfection. As a graphic artist he has dedicated his life to the artistic interpretation of rural Japan. Inspired by Kyoto and surrounding areas.
More etchings by Tanaka Ryōhei: