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 […]
Helen Hiebert’s “Paper Talk” podcast features an interview we did in my Kyoto studio about how I got started in the paper medium. Helen used to work at Dieu Donne papermill in NYC, where I first was inspired to work in paper. She has made an excellent resource that documents professionals in the paper field. The interview is 35 mins and was recorded in December 2019. Please see: https://helenhiebertstudio.com/products/series/paper-talk/
May-August 2020 Lions in the Sky, mulberry paperwork with phosphorescent pigment, indigo & ultramarine, 32 x 42″ The greens are bursting out, as we “shelter in place.” I hope you are safe and well during this challenging time. How wonderful it is to have art lovers and friends like you in my life! I am finding this intense time to be an opportunity in the studio to search deeper. Inspired by a trip we took to Namibia and South Africa in February, I invite you to view new works from the journey. Namibia is particularly spacious and the landscape stunning. The quality of light and color, animals in their natural habitat, starry nights, and ancient rock art were highlights of our experience. It was a chance to view nature on a grand scale and witness the natural balance of life and death in the animal kingdom. African Journal is a series of small original works (6 x 8″ ea) on washi. A selection from 20 works in the series, is below. 皆様いかがお過ごしでしょうか？コロナウイルスの感染拡大が進む直前の２月に、私と誠人はナミビアと南アフリカを訪れていました。この旅から刺激を受けて作った新しい作品を皆様にぜひご紹介したいです。ナミビアは広々とした景色がすばらしい場所でした。光や色の質、自然の中にいる動物達、星が輝く夜、そして岩に描かれた古代の彫刻が、この旅のハイライトでした。この旅は、私にとって自然を大きな視点で見る絶好の機会となりました。私は、野生動物の世界での生と死の自然なバランスをすぐそばで目撃することができました。 これらの経験をもとに作ったのが、「African Journal アフリカの旅」という、和紙を使った小さな作品シリーズです。 Constellation series Prehistoric rock engravings at Twyfefontein Namibia inspired the animal drawings which combine with constellation symbols in the new Constellation series below. I make the […]
Meher McArthur has written an article about Sarah Brayer’s Luminosity works in Buddhistdoor March 17, 2020. ”Brayer’s exploration of inner light in her Luminosity works on (and in) paper have added an exciting new dimension to printmaking and washi papermaking. As an artist, she has achieved the seemingly impossible—illuminating core details of her works so that they can be seen in the dark. By viewing the work in shifting light conditions, one becomes aware of the outer transitory nature of daylight and inner unchanging light source within. By being in the dark, we become more aware of the inner light glowing within.” https://www.buddhistdoor.net/features/expressing-the-inner-light-the-luminescent-art-of-sarah-brayer
The night sky has inspired a new series called “Indra’s Cosmic Net.” Fascinated by the interconnectedness of all formations: large as the universe, and small as cells, I have been using the long fibers of mulberry paper to create cells and “draw” in a new way. These new works are part of the Luminosity series. I will also show prints and paperworks of Kyoto. All are welcome.
MOON exhibition at the Herbert F Johnson Museum at Cornell, Ithaca, N.Y August 26, 2018 to January 13, 2019 Opening reception and artist talk Thursday, September 6, 5-7 pm. The talk is part of the Stoikov Lecture Series on Asian Art and will be held in the Wing gallery. Oceanic Moon, Sarah Brayer’s 5 panel luminescent paperwork mural will be featured in MOON, an exhibition drawn from the Johnson’s permanent collection and timed to coincide with the annual celebration of the Autumn Moon Festival. A special gallery will be created for Oceanic Moon so that it is an immersive experience for the viewer. Soundtrack by Steve Greene.
“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”