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Paul Binnie (Scottish, b. 1967) Travels with the Master: Cloud Shadows, Grand Canyon (Meisho To No Tabi: Guranndo Kyanionn) Color woodblock print. Signed in kanji at lower left, Bin-ni, followed by red artist's seal Binnie. The series title at upper left, Meisho to no tabi, the print title below in katakana, Guranndo Kyanionn, and in penciled English on the bottom margin, Cloud Shadows, Grand Canyon, 26/100, with Binnie embossed at center, and pencil signed at far right, Paul Binnie. Self-carved, some impressions were printed by Numabe Shinkichi (of the Yoshida studio), begun late 2004; completed March 2007. |
| 48 by 67 cm |
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While he worked on his block carving skills during his free time away from Seki's studio, Binnie also began experimenting with kappazuri (stencil printing), which provided an accessible (albeit labor intensive) means to produce work during what was presumably a very stimulating period. His first stencil prints depicted tattooed figures, followed by actor portraits, a genre which he had begun to acquire for his own print collection. By late 1995, Binnie felt technically proficient enough to leave Seki's studio and concentrate on his own work, primarily focusing on kabuki subjects, a genre which Binnie had begun to collect in earnest. He was increasingly interested in actor portraits by shin-hanga artists such as Natori Shunsen (1886-1960) and Ôta Gakô (Masamitsu, 1892-1975), and he also began to appreciate and collect landscape prints by artists such as Kawase Hasui (1883-1957) and Hiroshi Yoshida (1876-1950). As he began to find an audience for his own work, the sale of his prints funded the expansion of his print collection. This is the largest Binnie landscape to date, and the first design in a series that re-visits locations depicted by Yoshida. This particular vantage is very close to Yoshida's 1926 Grand Canyon composition. Reference: Paul Binnie: A Dialogue with the Past - The First 100 Japanese Prints, 2007, p. 137, no. 100 |
