This video documents my solo exhibition, Inner Light 内なる光, which took place at Komyo-in temple, Kyoto, 4/28/21-5/5/21. 25 paperworks made in washi (handmade Japanese paper) are highlighted, including phosphorescent paperworks, from the Luminosity series, which have a glowing presence in the dark. A special Luminosity gallery was housed in the Hondo (meditation hall). Please enjoy a visit to the exhibition. To inquire about the artwork, please email me: firstname.lastname@example.org. 2021年に京都の東福寺塔頭光明院で開催されたサラ・ブレヤー氏の個展「内なる光」の記録映像です。 サラ氏は1500年の歴史を誇る日本和紙の産地、越前にて作品を制作しています。内なる光というテーマで構成された本展から、25点の作品をご紹介いたします。サラ氏の代表作である、暗闇の中で蓄光顔料が光る「ルミナシティ・シリーズ」もご覧いただけます。
Inner Light A solo exhibition of 30 works (screens, scrolls, and paperwork murals) to be exhibited throughout Komyo-in, a sub-temple in Tofukuji, Kyoto. A special LUMINOSITY gallery will show paperworks that glow in the dark. A new book, Inner Light, will be published for the exhibit. 本展では, 30点の作品を光明院全体に展示します.“LUMINOSITY”シリーズの特別な展示が暗闇の中で輝きます. Please stay tuned for further updates!
In the Studio July 2020 Midnight Moon, a new edition is finally complete! Midnight Moon editioning began in March, while it was still cold in the studio. Here it is July, and the prints are now complete. The project starts with handmade mulberry paper (kozo) that has gaps between the fibers. When the washi is made the fibers swirl in suspension. When the washi is dried and colored, it looks like a deep night sky filled with stars. Each print in the edition of 32 is hand-painted using indigo & ultramarine blue pigments. When painting, my studio floor becomes a huge palette. I love the variations in the blues. Each piece is unique due to the handmade process. After the printing and gluing each print, they are backed with another handmade paper to strengthen the work and add a contrasting color to the blues. I make all the crescent moons and its penumbra by hand. The final step is to assemble all the parts, and dry the prints. When I spread out the completed prints on my floor, I look for any finishing touches before signing each print. A sea of prints covers the studio floor. Phosphorescent pigments add a […]
“Crescent Glow” is the title of the print edition which I created for the NY Print Club membership. It was unveiled in NY in November 2017. The print is a silkscreen on mulberry washi with a handmade luminescent moon which was adhered to each print which makes each print unique. The crescent moon has a glowing presence at night. The studio I worked at in Kyoto was originally a yuzen kimono dying factory, which was designed to hold two lengths of 13 meter kimono fabric.
“Sarah Brayer: Luminosity” opens November 2-14 in London, sponsored by Hanga Ten. The exhibit is at Gallery 8, St James’s, London. Artist opening reception: November 8th, 6-9 pm. Recent paperworks and prints will be on display. I will be giving 2 gallery talks on Nov 9th, at 12:30 pm, and Nov 10th at 18:30. All are welcome.
“Between Two Worlds: Poured Paperworks by Sarah Brayer” included a special gallery for the LUMINOSITY series at the Castellani Art Museum. Watch as the phosphorescent poured paperworks reveal themselves in shifting light. Viewers enter a darkened gallery as a special soundtrack created by Steve Greene began. Viewers witnessed shifts in mind and perception during a 10 minute cycle of light, art and sound.
Castellani Art Museum, October 26, 2014, speaking about the 18 works on view at “Between Two Worlds: Poured Paperworks by Sarah Brayer”
Oceanic Moon, a 5-panel luminescent paperwork has found a new home in the Johnson Museum of Art’s permanent collection in Ithaca, New York. As the first work in the Luminosity series to enter a museum collection, it is a fulfillment of my dream to take Luminosity to public spaces. More news about the installation to follow…
“Sea of Clouds,” (50 x 50 cm) is my latest editioned print. I have developed a new way of embedding the aquatint image between washi fibers as if the clouds were drifting through the piece. The washi and print are integrated into one. Each piece is slightly different due to the hand pouring of the washi fibers onto the screen. The print was published in April 2012 in an edition of 35.