Art by Medium: Sumi Ink

Arcadia Winter Moon presents a quiet, contemplative landscape where slender trees rise through a hushed, snow-like ground beneath a muted, sky. The composition feels both sparse and ...

A handmade copy after 范曾 Fan Zeng (Chinese, born 1938) painting titled "Playing the Zither", by 謝 Xie 天成 Tiancheng of 寥天閣 Chamber of Boundless Sky. The Calligraphic Text "天下都樂" tra...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a view of Mt. Fuji warmly illuminated by the morning sky. Signed in Kanji center right, "Hiroshige Ga" for Utagawa (...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a view of an the Ohashiya Inn in Akasaka, circa 1850. This family-owned inn operated from 1649-2015 and, upon it's c...

"Delivered and Discarded (positives) #1" is an original wall-hanging piece by Yoonmi Nam. This piece is made from the flattening out packing boxes that the artist traces to depict t...

"Delivered and Discarded (Negatives) 3 " is an original wall-hanging piece by Yoonmi Nam. This piece is made from the flattening out packing boxes that the artist traces to depict t...

"Delivered and Discarded (Negatives) 2 is an original wall-hanging piece by Yoonmi Nam. This piece is made from the flattening out packing boxes that the artist traces to depict th...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a view of a Kusatsu in Shiga Prefecture, circa 1850. Signed in Kanji lower right, "Hiroshige Ga" for Utagawa (Ando) ...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a view of two boats off the coast of Kuwana. Signed in Kanji upper right, "Hiroshige Ga" for Utagawa (Ando) Hiroshig...

Poured beeswax work by Mary Early from her "Study for Līnea" series. "The production, or “pouring,” of beeswax elements has become a meditative process that is integral to my art practice, serving as an observation of time, materials, and space. The raw beeswax I use has taken its form at the end of a long series of natural processes followed by a manufacturing process, and once it is in my hands, the studio becomes a factory. I apply my own methods of transforming the material by casting the beeswax into three-dimensional forms. Once I have fixed both a place and a time in the future for a potential installation, I begin to determine how the beeswax lines will take their aggregated shape in that space and, simultaneously, how many lines might be manufactured for that particular space in the amount of time available." Mary Early (born 1975, Washington, DC) lives and works in Washington, DC. She studied visual art, film, and video at Bennington College, and her work has been exhibited at the United States Botanic Garden, Washington Project for the Arts, the Corcoran Gallery of Art, Second Street Gallery (Charlottesville, VA), Hemphill Fine Arts (Washington DC,) the Austrian Cultural Forum (Washington DC), Galerie Im Ersten (Vienna, Austria), Kloster Schloss Salem (Salem, Germany), Kunstlerbund Tubingen (Tubingen, Germany), and the American University Museum (Washington DC) among other regional and national galleries. Her early work incorporated formed concrete, tarpaper and paraffin wax, fabricated wood structures, and, increasingly over the years, surfaces coated with wax as a method of preserving or concealing an object within. Recent works have relied solely on solid forms cast in wax, abandoning the use of any permanent armature. Temporary installations are guided by schematic drawings and plans, which then serve as a permanent record. In 2014 she exhibited her first large-scale installation of wax lines at Second Street Gallery in Charlottesville, VA, followed by temporary installations in response to various historical sites in Salem, Germany (2016) and Tubingen Germany (2017). In 2017 she participated in the exhibition “Twist-Layer-Pour” at the American University Museum, which included Untitled [Curve], an installation of thousands of beeswax lines assembled on the floor of the museum. In spring 2018 she was commissioned to create a temporary installation at the Sun Valley Center for the Arts, Sun Valley Idaho. This work took the form of two intersecting curtains of hanging beeswax lines bisecting a 12’ foot x 18’ foot room, providing an immersive and enclosed viewing space. Early’s work is included in the collections of the US Department of State/Embassy of Panama, Kimpton Hotels, and the District of Columbia Art Bank among other public and private collections. She is a recipient of the Artist Fellowship Grant from the DC Commission on Arts & Humanities, Washington DC (2020, 2019, 2018, 2017, 2016, 2015, 2014, 2011, 2009, 2007). Early is the director of HEMPHILL Fine Arts, Washington, DC, and serves on the boards of Hamiltonian Artists and Washington Sculptors Group. She handles the work of contemporary artists and artist estates, including the work of William Christenberry, Colby Caldwell, Hedieh Javanshir Ilchi, Linling Lu, Mingering Mike, Robin Rose, Renée Stout...

Original work by Mary Early. Graphite, colored pencil, and sumi ink on Arches paper, 12.25 x 16". "The production, or “pouring,” of beeswax elements has become a meditative process that is integral to my art practice, serving as an observation of time, materials, and space. The raw beeswax I use has taken its form at the end of a long series of natural processes followed by a manufacturing process, and once it is in my hands, the studio becomes a factory. I apply my own methods of transforming the material by casting the beeswax into three-dimensional forms. Once I have fixed both a place and a time in the future for a potential installation, I begin to determine how the beeswax lines will take their aggregated shape in that space and, simultaneously, how many lines might be manufactured for that particular space in the amount of time available." Mary Early (born 1975, Washington, DC) lives and works in Washington, DC. She studied visual art, film, and video at Bennington College, and her work has been exhibited at the United States Botanic Garden, Washington Project for the Arts, the Corcoran Gallery of Art, Second Street Gallery (Charlottesville, VA), Hemphill Fine Arts (Washington DC,) the Austrian Cultural Forum (Washington DC), Galerie Im Ersten (Vienna, Austria), Kloster Schloss Salem (Salem, Germany), Kunstlerbund Tubingen (Tubingen, Germany), and the American University Museum (Washington DC) among other regional and national galleries. Her early work incorporated formed concrete, tarpaper and paraffin wax, fabricated wood structures, and, increasingly over the years, surfaces coated with wax as a method of preserving or concealing an object within. Recent works have relied solely on solid forms cast in wax, abandoning the use of any permanent armature. Temporary installations are guided by schematic drawings and plans, which then serve as a permanent record. In 2014 she exhibited her first large-scale installation of wax lines at Second Street Gallery in Charlottesville, VA, followed by temporary installations in response to various historical sites in Salem, Germany (2016) and Tubingen Germany (2017). In 2017 she participated in the exhibition “Twist-Layer-Pour” at the American University Museum, which included Untitled [Curve], an installation of thousands of beeswax lines assembled on the floor of the museum. In spring 2018 she was commissioned to create a temporary installation at the Sun Valley Center for the Arts, Sun Valley Idaho. This work took the form of two intersecting curtains of hanging beeswax lines bisecting a 12’ foot x 18’ foot room, providing an immersive and enclosed viewing space. Early’s work is included in the collections of the US Department of State/Embassy of Panama, Kimpton Hotels, and the District of Columbia Art Bank among other public and private collections. She is a recipient of the Artist Fellowship Grant from the DC Commission on Arts & Humanities, Washington DC (2020, 2019, 2018, 2017, 2016, 2015, 2014, 2011, 2009, 2007). Early is the director of HEMPHILL Fine Arts, Washington, DC, and serves on the boards of Hamiltonian Artists and Washington Sculptors Group. She handles the work of contemporary artists and artist estates, including the work of William Christenberry, Colby Caldwell, Hedieh Javanshir Ilchi, Linling Lu, Mingering Mike, Robin Rose, Renée Stout...

Sumi ink drawing, c. 1928 Signed in the lower right corner (see detail) Original illustration for the novel "Gunmo" (Hoi Polloi or Blind and Foolish Masses), volume 4 in the "Complete Works of Burafu Nakamura." Nakamura, a popular Japanese novelist and playwright, lived from 1886-1949. Framed in acid free rag matting, OP3 Acrylic and a rounded corner metal leaf frame Sight size: 6-3/4 x 5-3/8" Frame size: 14-5/8 x 12-5/8 x 3/4" Shinsui Itō...

An octopus is inked in the Japanese style of Gyo-Taku print making. Using sumi ink to "print" the octopus, the artist then embellishes it with colored pencil to convey an extraordin...

This monochrome abstract work by M. Saffell Gardner is a sumi ink on watercolor paper piece that evokes the feelings of a dark American poem. Sumi ink, also c...

Poured beeswax work by Mary Early from her "Study for Līnea" series. "The production, or “pouring,” of beeswax elements has become a meditative process that is integral to my art practice, serving as an observation of time, materials, and space. The raw beeswax I use has taken its form at the end of a long series of natural processes followed by a manufacturing process, and once it is in my hands, the studio becomes a factory. I apply my own methods of transforming the material by casting the beeswax into three-dimensional forms. Once I have fixed both a place and a time in the future for a potential installation, I begin to determine how the beeswax lines will take their aggregated shape in that space and, simultaneously, how many lines might be manufactured for that particular space in the amount of time available." Mary Early (born 1975, Washington, DC) lives and works in Washington, DC. She studied visual art, film, and video at Bennington College, and her work has been exhibited at the United States Botanic Garden, Washington Project for the Arts, the Corcoran Gallery of Art, Second Street Gallery (Charlottesville, VA), Hemphill Fine Arts (Washington DC,) the Austrian Cultural Forum (Washington DC), Galerie Im Ersten (Vienna, Austria), Kloster Schloss Salem (Salem, Germany), Kunstlerbund Tubingen (Tubingen, Germany), and the American University Museum (Washington DC) among other regional and national galleries. Her early work incorporated formed concrete, tarpaper and paraffin wax, fabricated wood structures, and, increasingly over the years, surfaces coated with wax as a method of preserving or concealing an object within. Recent works have relied solely on solid forms cast in wax, abandoning the use of any permanent armature. Temporary installations are guided by schematic drawings and plans, which then serve as a permanent record. In 2014 she exhibited her first large-scale installation of wax lines at Second Street Gallery in Charlottesville, VA, followed by temporary installations in response to various historical sites in Salem, Germany (2016) and Tubingen Germany (2017). In 2017 she participated in the exhibition “Twist-Layer-Pour” at the American University Museum, which included Untitled [Curve], an installation of thousands of beeswax lines assembled on the floor of the museum. In spring 2018 she was commissioned to create a temporary installation at the Sun Valley Center for the Arts, Sun Valley Idaho. This work took the form of two intersecting curtains of hanging beeswax lines bisecting a 12’ foot x 18’ foot room, providing an immersive and enclosed viewing space. Early’s work is included in the collections of the US Department of State/Embassy of Panama, Kimpton Hotels, and the District of Columbia Art Bank among other public and private collections. She is a recipient of the Artist Fellowship Grant from the DC Commission on Arts & Humanities, Washington DC (2020, 2019, 2018, 2017, 2016, 2015, 2014, 2011, 2009, 2007). Early is the director of HEMPHILL Fine Arts, Washington, DC, and serves on the boards of Hamiltonian Artists and Washington Sculptors Group. She handles the work of contemporary artists and artist estates, including the work of William Christenberry, Colby Caldwell, Hedieh Javanshir Ilchi, Linling Lu, Mingering Mike, Robin Rose, Renée Stout...

Jongwang Lee's paintings challenge a dormant potential he believes lives within all humans. Inspired by Buddhist philosophies of space, Korean ideas of communication with the soul, a...

A small octopus is inked in the Japanese style of Gyo-Taku print making. Using sumi ink to "print" the octopi, the artist then embellishes them with colored pencil to convey an extraordinary dimensionality. By printing them on an antique nautical chart...

A small octopus is inked in the Japanese style of Gyo-Taku print making over an illustrated diagram of the human brain. Using sumi ink to "print" the octopus, the artist then embell...

ABOUT Matt Kinney was born in Georgetown, Massachusetts. He attended Pratt Institute and The School of the Museum of Fine Arts, graduating in 1998. After graduation, Kinney began in...

"Geometric Bloom" is a hand-painted acrylic painting on high-quality 300g paper by artist Ryan Rivadeneyra. This series focuses on geometric patterns and combinations of shapes to f...

"Swim is a hand-painted acrylic painting on high-quality 300g paper by artist Ryan Rivadeneyra. The hand-drawn render is reminiscent and inspired by the word art that Ed Ruscha produ...

This new series of painting is an exciting transition for Kinney as he is best known for assemblage and sculpture. “Anim”, the Latin root word of animal, means life, soul or breath. ...

In Japan, they are known as Nishikigoi, or living jewels. These brilliantly colored varieties of the Amur carp have been selectively bred by family owned fisheries for generations. When I began this series of Gyotaku (Japanese fish printing) I studied the many varieties of Koi, each with their own unique colors and patterns. To create these pieces I print common carp I catch myself with sumi ink using traditional techniques used by Japanese fisherman...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten countries as a part of the cultural exchange programs, Up with People and The Ship for World Youth. When her time with those groups ended she moved to the United States, where she discovered photography and started incorporating it with calligraphy. Chaco has led demonstrations and has taught calligraphy workshops at the Dallas Museum of Art, The Crow Asian Art Museum, Greenhill School, and Saint Mark’s School of Texas among others. Chaco’s artwork has been exhibited in Dallas, Santa Fe, New York and Los Angeles and Paris. Process Statement My work uses the Japanese and Chinese calligraphic characters that I have practiced since childhood. I take a line from one character, and when that brushstroke is made it tells me where the next one should be placed. This method of working is untraditional. I have found that the details and individual lines of a character are beautiful by themselves. I may use the individual brushstrokes that form a written word, Japanese letters...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten countries as a part of the cultural exchange programs, Up with People and The Ship for World Youth. When her time with those groups ended she moved to the United States, where she discovered photography and started incorporating it with calligraphy. Chaco has led demonstrations and has taught calligraphy workshops at the Dallas Museum of Art, The Crow Asian Art Museum, Greenhill School, and Saint Mark’s School of Texas among others. Chaco’s artwork has been exhibited in Dallas, Santa Fe, New York and Los Angeles and Paris. Process Statement My work uses the Japanese and Chinese calligraphic characters that I have practiced since childhood. I take a line...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten countries as a part of the cultural exchange programs, Up with People and The Ship for World Youth. When her time with those groups ended she moved to the United States, where she discovered photography and started incorporating it with calligraphy. Chaco has led demonstrations and has taught calligraphy workshops at the Dallas Museum of Art, The Crow Asian Art Museum, Greenhill School, and Saint Mark’s School of Texas among others. Chaco’s artwork has been exhibited in Dallas, Santa Fe, New York and Los Angeles and Paris. Process Statement My work uses the Japanese and Chinese calligraphic characters that I have practiced since childhood. I take a line...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

practiced since childhood. I take a line from one character, and when that brushstroke is made it tells me where the next one should be placed. This method of working is untraditional. I have found that the details and individual lines of a character are beautiful by themselves. I may use the individual brushstrokes that form a written word, Japanese letters...

A small octopus is inked in the Japanese style of Gyo-Taku print making over a playful background of black and white images of Frida Kahlo. Using sumi ink to "print" the octopus, th...

Valley House Gallery recently presented "Listening in the Silence" — our first solo exhibition of work by Chaco Terada, a native of Japan who has called Dallas home since 1992. Born ...

Valley House Gallery recently presented "Listening in the Silence" — our first solo exhibition of work by Chaco Terada, a native of Japan who has called Dallas home since 1992. Born ...

A small octopus is inked in the Japanese style of Gyo-Taku print making over an illustrated diagram of the human brain. Using sumi ink to "print" the octopus, the artist then embell...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten co...

Full title: Calm Prayer for Peace The artwork is made on a wooden panel with Japanese paper, Oguni washi, pigment, sumi and nikawa glue. It is signed on the side, Japanese style. M...

Jongwang Lee's paintings challenge a dormant potential he believes lives within all humans. Inspired by Buddhist philosophies of space, Korean ideas of communication with the soul, a...

This is an archival pigment print on 3 layers of silk organza with sumi ink and mineral pigments. In 2019, Valley House Gallery presented our first exhibition of work by Chaco Terad...

Jongwang Lee's paintings challenge a dormant potential he believes lives within all humans. Inspired by Buddhist philosophies of space, Korean ideas of communication with the soul, a...

Sumi-e brush and ink life drawing of Layna by David Mack, 2012. David Mack is a New York Times Best Selling author, one of the most respected creators in...

Jongwang Lee's paintings challenge a dormant potential he believes lives within all humans. Inspired by Buddhist philosophies of space, Korean ideas of communication with the soul, a...