"Zero in Water" Japanese Woodblock Print, 6/30

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Reika Iwami
"Zero in Water" Japanese Woodblock Print, 6/30
1970

Name: "Zero in Water" Japanese Woodblock Print, 6/30
Brand: Reika Iwami
Rating: 5 (349 reviews)

About the Item

"Zero in Water" Japanese Woodblock Print, 6/30, by Reika Iwami, 1970 "Zero in Water" shown here, several of Iwami's signature compositional elements are present. There are the prominent driftwood forms and the large circle, along with a gold-leaf wave pattern, granular textures, and an intense black background, all combining to enhance the impact of the design. Reika Iwami creates her rhythmical fluid world using natural wood grain patterns, glittering metallic leafs and mica. Titled, numbered, and signed along the bottom edge: "6/30 水の中の零 Reika Iwami '70" Presented in a cream linen mat with foam core backing. Mat size: 34.75"H x 24.75"W Paper size: 34.25"H x 23.13"W Iwami Reika (岩見禮花) was born in Tokyo in 1927, but lived in Kyushu for five years and later in Kanagawa. From the age of 23 she worked for 13 years as an office employee at the Athenee Français language institute, while also studying doll-making and prints at the Sunday course of Japan's first co-educational school, the vocational Bunka Gakuin (文化学院), from which she graduated in 1955. Iwami also studied at other workshops, including an eleven-year apprenticeship as a doll-maker with the female painter-turned-dollmaker Hori Ryûjo (堀柳女 1897-1984, born Yamada Matsue). Iwami finally devoted herself to printmaking beginning in 1954. She began as an apprentice with Hori Ryujo, a doll maker. Later she was influenced by sosaku hanga artists like Koshiro Onchi and Junichiro Sekino. Iwami cited the influence of Onchi Kôshirô and Sekino Jun'ichirô, but, above all, Shinagawa Takumi (in particular, his collage work as well as his use of driftwood). Iwami was also a haiku poet who recognized a relationship between printmaking and poetry: "Haiku is a disciplined study. It forces one to eliminate what is not necessary, and that's why I use it as a spiritual exercise for my prints." She was a prolific artist who achieved recognition at the same level as her male colleagues. The novelist and collector James Michener (1907-1997) called her "the first woman in the history of Japanese prints ... to attain full stature." First exhibiting in 1953 with the Japan Print Association (Nihon Hanga Kyôkai: 日本版画協会), Iwami then showed her prints from 1957 to 1964 at the Tokyo International Print Biennale, and, from 1957, every year at the print shows held by the College Women's Association of Japan in Tokyo. Her name and printmaking style became well known in the West after her inclusion in Michener's The Modern Japanese Print. An Appreciation (1962) with "Winter Composition No. 2" selected as one of the winning entries. Iwami's abstractions based on water, sky, rock, and driftwood forms were readily appreciated by a wide global audience and she remains popular to this day. Iwami's best known prints make extensive use of embossing, driftwood patterns, mica, and applications of gold or silver leaf. She occasionally used collagraph, when, for example, she printed from fishing nets pasted on blocks. As was one of the nine founding members of the Joryû Hanga Kyôkai (Women’s Print Association: 女流版画協会), also referred to as the Nihon Joryû Hanga Kyôkai (Japan Women’s Print Association: 日本女流版画協会), Iwami particpated in the group’s debut exhibition in October 1956 featuring their etchings, relief prints, and lithographs in a Tokyo gallery. For ten years, until its disbanding in 1965, the society continued to stage exhibitions, culminating in a show in New York City in 1965, before its members went on to pursue solo careers. Iwami's prints can be found in many private collections and museum's, including the Art Gallery of Greater Victoria; Art Gallery of New South Wales; Art Institute of Chicago; Birmingham Museum of Art (Alabama); British Museum, London; Carnegie Museum of Art, Pittsburgh; Cincinnati Art Museum; Harvard Art Museums (MA); Hayama Museum of Modern Art; Honolulu Museum of Art; Indianapolis Museum of Art; Library of Congress, Washington, DC; Los Angeles County Museum of Art; Minneapolis Institute of Art; Museum of Fine Arts, Boston; Museum of Modern Art, Kamakura; National Museum of Asian Art, Freer and Sackler Galleries, Smithsonian; Philadelphia Museum of Art; Portland Art Museum; Smith College Museum of Art, Northampton, MA; Worcester Art Museum (MA); and Yale University Art Gallery. © 2022 by John Fiorillo

Creator:
Reika Iwami (1927)
Creation Year:
1970
Dimensions:
Height: 34.75 in (88.27 cm)Width: 24.75 in (62.87 cm)Depth: 0.25 in (6.35 mm)
Medium:
Gold Leaf,Printer's Ink,Woodcut
Movement & Style:
Minimalist
Period:
1970-1979
Condition:
very good with some visible imperfections to the Rice paper.
Gallery Location:
Soquel, CA
Reference Number:
Seller: ANS54781stDibs: LU54211671122

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