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Reflection of a Black Moon
We are looking at atall glass-fronted building. It`s very frontal and takes up most of the picture. The windows of the building are achieved by painting them out on the wooden block with vanish. This means that it is not a case of black and white (or blue and white), but that there is a residual amount of pigmentleft on the vanish and also that by varying the amount of vanish coats from one two five, it helps to vary the tone in the windows, from light (five coats of varnish) to darker (one coat). Also, this particular blue pigment (once print) if left under dampened sheets of paper will bleed at the edges to give more of a soft merging effect from whites blues. it is also an effect not possible with oil printing which in this case is important to me.
The moon is created by circular piece of wood which already had regular holes drilled in it. This has two effects for me. One is that it adds more liveliness to this area of the print and the second is that it hasthe suggestion of something riddled, shot through or maimed. The wood is also rawan which has a more pronouced grain. This I used so that the grain would run up and down the picture, to make a connection with the final block where I depict rain. On the left hand side I have printed a report of two blocks, giving the cross shape again.This has the function to me of being like a kind healing symbol. At the same time I am concious that it can look like people jumping and falling from buildings. These two blocks are repeated so that they follow up to the top of the picture and are to form the feeling of being another building in front of the main building. This has been exaggerated by using a shadow or suggestion of a shadow in the green colour in the bottom left. Again, thisis ambiguous, as where is the source of light coming from to produce the shadow? From the black moon? However, how can a)there be light coming from a black moon and b)a black moon be reflected in the glass windows in the first place? So, in a way the picture is trying to be convincing about creating a space with a light source and shadows, but at the same time it can never be convincing. So the whole picture, in some way for me, is about doubt. A foreboding and the idea of a premonition or image from a nightmare. However, I feel the shell in the right corner is to somehow give the feeling of hope of re-birth and continuous cycle.
Somehow I want to say something heavy or brooding about a big metropolis of a city and the immense forces of nature underpinning all of this. A concern that Tokyo marches on defiantly and grows taller with new towering building, as if blind to the reality that this is a major earthquake zone which will eventually have a terrible crisis on its hands.
The final block on the print is an oil block, which I printedin orange to give a scratchy kind of orange-red rain, to echo my theme of "strange rain and sheltering".
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