Mono no aware jap. 物の哀れ
This is the type of Japanese aesthetics. The meaning is not fully translatable. It is a form of reflection (melancholy) on small, seemingly insignificant matters (refers to the topic of transience). Literally "mono" means "thing", while "aware" is a kind of delight.
To create a series of traditionally performed graphic works, I was inspired by broadly understood Japanese culture, in particular Ukiyo-e, manifesting itself primarily in traditional Japanese woodcuts. However, I did not do work in this style. I analyzed, processed, the achievements of the local masters and combined this knowledge with my own perception of the world. The effect of such actions are graphics creating a bridge between cultures (Japanese and European). In these works you can find elements of surrealism, haiku, Ukiyo-e mentioned earlier, but also descriptive graphics and mathematical principles.
A very important part of these practices was my passion for mathematical division and for applying theory to creative work. Searching in connections related to art, with references to scientifically broad issues, are a characteristic feature in my work.
During the time of creating the cycle I became interested in the universality of the principles of the golden ratio and its "ubiquity" in nature and civilization — that it is still current and used since ancient times. That's why I decided to apply this principle to my graphics. The layouts presented on this basis are naturally balanced. Paradoxically, the golden ratio combines abstraction and mathematical complication, then freely available and harmonized.
I took the subject of the work as "undefined" (overflowing, flowing, etc.), the feature of which is that they do not occur in nature for too long — they are fleeting, chaotic — at first they are not associated with mathematical divisions or geometry. Works compositions adapted to mathematical division (golden ratio, Fibonacci sequence, prime numbers, Ulam spiral, etc.), while maintaining aesthetic values.
The graphic technique that I decided to use in this cycle was linocut (contour lines). This technique is very similar to the traditional Japanese woodcut technique (it also belongs to the convex printing technique). The linocut matrix compared to the Japanese woodcut is easier to develop, and above all, it does not contain the restrictions of boards for creating large works without the need for gluing and developing boards. To improve the cutting of a large surface of the linoleum matrix, I glued it to the HDF board, which enabled the background to be selected with patches (due to which the work remained very sterile). By using this solution, I also prevented the matrix from deforming during printing.
In the reflection process I added color spots with previously prepared (properly cut out using a template) wrinkled paper. Wrinkled paper is very similar to traditional Japanese paper and additionally has a strong texture that enlivens the performance. The graphic technique enabling such a combination of several lamination modules is a collage technique used during printing (between the matrix and the copy paper of the insert there is colored paper with glue applied - thanks to that you can use print on two papers bonded together). Works printed by hand with traditional methods on Japanese Kawashi paper.
Thank you for watching
and sorry for my english :P