![]() Each artist then spoke of their own work, and how their time in Japan and the techniques they learned there influenced their work when they returned to their home country. Several of the artists consider themselves printmakers, and then there were several, like myself, who love making prints, but know that printmaking, and being a master printer is not what they are. Rebecca Salter gave a talk about traditional printed signatures left at temples, which was very very interesting. McClain's: Tell us a little bit about your experience as a panelist at the Impact/Kontakt Conference in Germany and Poland. What was going on there?ĭaniel Heyman: I was on a panel of artists all of whom had been to the Nagasawa program. McClain's: How were you introduced to Moku Hanga (Japanese style printmaking)?ĭaniel Heyman: I wanted to go to Japan to learn about Japanese printmaking. I didn't know what Moku Hanga was and was really quite ignorant about the technique. I was simply in love with Japanese aesthetics - the prints of course, but also the handmade papers. I was accepted as a resident artist at the Nagasawa Art Park Printmaking Program on Awajishima Island for the fall of 2002. Nagasawa is a program that invites mid-career artists who do not know Moku Hanga techniques to study with Japanese master carvers, printers, artists, and paper makers. I studied at Nagasawa for 9 weeks, and was in Japan a total of 4 months. In September, he served on a panel of Moku Hanga Printmakers at the Impact/Kontakt International Printmaking Conference in Berlin, Germany and Poznan, Poland. ![]() He has exhibited prints and paintings extensively on the east coast of the US and abroad. He is an artist, teacher, and author currently teaching at both the Rhode Island School of Design and the Tyler School of Art in Philadelphia. For our artist profile this month, we corresponded with Daniel Heyman.
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