“Between Worlds” explores the specialized ancient art of mokuhanga (photo courtesy Kentler International Drawing Space)
BETWEEN WORLDS — MOKUHANGA
Kentler International Drawing Space
353 Van Brunt St., Red Hook
Thursday – Sunday through July 31, free, from 12:00 – 5:00
Tour and flute performance July 24, free, 1:00
kentlergallery.org
mokuhangasisters.com
After meeting at the Mokuhanga Innovation Laboratory in Kawaguchi-ko, Japan, during shared residencies from 2017 to 2019, nine woman artists formed the Mokuhanga Sisters, a collective dedicated to the centuries-old ukiyo-e woodblock printing technique known as mokuhanga. The Mokuhanga Sisters — Katie Baldwin, Patty Hudak, Mariko Jesse, Kate MacDonagh, Yoonmi Nam, Natasha Norman, Mia O, Lucy May Schofield, and Melissa Schulenberg — are showing modern examples of the art form in the lovely exhibition “Between Worlds – Mokuhanga,” on view through July 31 at the Kentler International Drawing Space in Red Hook. In addition, each artist has invited either a teacher or a student of theirs or a community member (Matthew Willie Garcia, Hidehiko Gotou, Kyoko Hirai, Shoichi Kitamura, Terry McKenna, Brendan Reilly, Louise Rouse, Ayao Shiokawa, Chihiro Taki, Katsutoshi Yuasa) to show work as well, making it an intergenerational, multigender show.
In their curatorial statement, the Mokuhanga Sisters explain, “‘Between Worlds’ explores the technical innovations of mokuhanga and contemporary themes of identity, place, environment, and gender from artists working around the world. As a medium, mokuhanga is versatile and sustainable. Its subtle applications of color and the tactile surfaces create space for contemplation. Its connection to the past and its potential for innovation give it continued relevance for international art making in the twenty-first century.”
Katie Baldwin, Meeting Place (Garden), mokuhanga, 2021 (photo courtesy Kentler International Drawing Space)
The centerpiece of the exhibit is the more than twelve-foot-long scroll Borderless, comprising panels by eight of the Sisters. On the walls surrounding the scroll are more than four dozen individual works on paper in black-and-white and multiple colors, featuring various geometric shapes and patterns and landscapes. McKenna’s Water from Heaven and Linden Falls use the same blocks but are printed in very different hues; similarly, Yuasa’s VR Tokaido series boasts three versions of its scene of Mt. Fuji. Several artists incorporate gradations of an alluring blue, including Baldwin (Meeting Place [Garden]), Gotou (Blue Breath), Schofield (The Way You Look at Me), Norman (Woven Water), and MacDonagh (Diptych).
Circles play a prominent role in works by Hudak, Mia O, Ayao Shiokawa, and Norman. Baldwin’s Tornado Shelter (Practice Evacuation) evokes Edvard Munch’s In the Brain of Man and On the Waves of Love, a white face drawing attention in an otherwise dark outdoor scene. Yuasa’s Making your own paper, printing by hand, and seeing through the light recalls several oil paintings of woods by Paul Cezanne. Hudak’s stunning Two Trees hangs over the gallery’s inner entrance; it was inspired by W. B. Yeats’s poem “The Two Trees” (“Beloved, gaze in thine own heart, / The holy tree is growing there; / From joy the holy branches start, / And all the trembling flowers they bear”) and the forest canopy behind her home.
On July 24 at 1:00, Hudak will be leading a tour of the show, followed at 2:00 by a Japanese flute performance. Don’t miss the tour if you can help it: Hudak’s deep love for and knowledge of the form and its history, stretching back to the seventh century, were delivered with a light touch and engaging enthusiasm on the tour we went on a few weeks ago, and her information about the particular papers, inks, wood carving, and inking techniques of mokuhanga added immeasurably to our understanding and appreciation of the works. While there, be sure to check out “Focus on the Flatfiles: Between Worlds,” a cabinet of affordable prints by Annie Bissett, Takuji Hamanaka, Keiko Hara, Jennifer Mack-Watkins, Florence Neal, Yasu Shibata, and April Vollmer.
