, 'opacity': false, 'speedIn': , 'speedOut': , 'changeSpeed': , 'overlayShow': false, 'overlayOpacity': "", 'overlayColor': "", 'titleShow': false, 'titlePosition': '', 'enableEscapeButton': false, 'showCloseButton': false, 'showNavArrows': false, 'hideOnOverlayClick': false, 'hideOnContentClick': false, 'width': , 'height': , 'transitionIn': "", 'transitionOut': "", 'centerOnScroll': false }); })

“A Feeler” by Michiko Suzuki

“A Feeler (Compassion vs. the Volcano)” by Michiko Suzuki

Michiko Suzuki’s solo exhibition, “A Feeler” exhibits large-scale etching prints for the first time at The Bellevue Gallery in West Vancouver.  Suzuki developed the process of ‘toner etching’ in 1993 allowing for the expression of shadow, light and delicate detail to be captured in a present moment of truth.

Michiko’s technique requires swiftness on the part of the artist to encapsulate immediacy in her art form.  Using photocopier toner, an exceedingly fine powder; Suzuki blows it through a straw into delicate patterns on a copper plate.  Even the slightest flutter will cause this ultra-fine powder to lift and float into an image of its own devising.  Once she has formed her ‘feelers,’ she then burns the pattern into the copperplate by heating its underside.  The copper plate is then etched and the image transferred onto fine Japanese paper.

For Suzuki, the act of creation is not enough; it is only when the viewer connects with her art that she feels her work is complete.  Even the titles of her prints are designed to invoke viewer participation.  She calls her pieces “A Feeler” in honor of the people who are touched by her work visually, emotionally and physically.  Her development of large scale prints is significant to printmaking itself because the viewer experiences the work on a human scale.  Traditionally printmaking was done on a much smaller basis, however, large scale etchings are comparable to larger paintings.

Three of Suzuki’s pieces being showcased at the Bellevue Gallery were shown at the Contemporary Art Exhibition held at the Tokyo Metropolitan Museum and the Kyoto City Museum of Art in Japan.  These pieces are very significant to Michiko’s desire to evoke compassion and serenity in a disharmonious world.

This creative process is a spiritual journey for Suzuki.  It is critical, for example, that she physically connects with the toner powder, either through her breath or by placing her fingers directly into the powder.  She says she murmurs while she works and senses a direct emotional connection to the folklore of her native Japan.  She makes her art accessible in order to grant viewers a reprieve from the confines of hyper-technology and overcrowding; hoping her prints offer balance between time and space.

Exhibition runs from February 14th to March 16th, 2013 – Opening night Feb. 14 6-8pm 

 

email Facebook Twitter Other Social Networks