This week, Saturday, I’ll be 80. It seems somewhat hard to believe I’ve made it this far. But actually, following my patients’ advice, I’ve almost never paid much attention to age. Birthdays have been important and observed; who wants to miss a party? It has been easy to ignore comments on aging which I’ve heard over the latter years.
As for my printmaking, it continues as always. No end to the ideas. Teaching does interrupt the creating somewhat; having “retired” from college, the need for some income causes me to continue accepting new students, and welcoming back previous ones. As I wrote earlier, after my bout with the balance challenge, I’m taking fewer students than before. The ones who have come are mostly serious and sincere. Ruth from Switzerland and Yanira from USA have been two notable students. And Yvonne continues to return from OZ annually for improving some of her techniques.
So, what can I say about the previous 80 years? For one fact, they have been full. Never a dull moment could be one appropriate motto. A life of adventure could be another. Newness, flexibility, study, self-improvement, curious about much, making friends, looking forward, not reviewing the past. Growing in my spirituality is the main preoccupation lately.
And more, which I’ll get to later. Now to take a hot bath in this cooling weather, and hit the sack.
Woodblock Printmaker, Richard Steiner's Diary and Messages from Kyoto Japan.
10/14/19
2/13/19
Some wild boar thots
Having survived the mild stroke of last June, 2018, I'm recovering at a slow pace, which I do not necessarily like, but do not want to push myself too hard. I have cut back on the number of print students, which is giving me more private studio time.
There are plenty of prints awaiting creation. It has almost never been difficult for me to start drawing a new work. The initial lines soon suggest a way to go. Whether a masterpiece is produced this way, is not for me to decide, but for history. I just follow the images that come down the arm to the hand and leak out of the 4B pencil point.
So far this Wild Boar year, it’s been slow while trying in its way to speed up. How to slow life down? For my sort of individual, this is another challenge.
But enuf of that kind of tak. Let’s talk prints. As always, I work from/by inspiration. But last year I made MIYAMOTO’S VISION. It is a copy of a print on the invitation card to his exhibition in Tokyo. I don’t know him; the gallery there sends me their show cards automatically. This card’s photo of one of his works grabbed me strongly. I had to make a print of it, a Steiner print of it.
This was no easy task it turns out..
More on this next session.
There are plenty of prints awaiting creation. It has almost never been difficult for me to start drawing a new work. The initial lines soon suggest a way to go. Whether a masterpiece is produced this way, is not for me to decide, but for history. I just follow the images that come down the arm to the hand and leak out of the 4B pencil point.
So far this Wild Boar year, it’s been slow while trying in its way to speed up. How to slow life down? For my sort of individual, this is another challenge.
But enuf of that kind of tak. Let’s talk prints. As always, I work from/by inspiration. But last year I made MIYAMOTO’S VISION. It is a copy of a print on the invitation card to his exhibition in Tokyo. I don’t know him; the gallery there sends me their show cards automatically. This card’s photo of one of his works grabbed me strongly. I had to make a print of it, a Steiner print of it.
This was no easy task it turns out..
More on this next session.
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