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In My Viewfinder - David Bull, Woodblock Printmaker

When I arrive at David Bull's home in Ome in Tokyo's western suburb on a cold but sunny morning in late March, he is checking a huge delivery of kiri wood boxes from China. But this time he is not quite satisfied ...

"The finish is not as nice as if a Japanese craftsman had done it," he says. "But on the other hand, it costs only a fraction of the same thing handmade in Japan."

These boxes will carry Bull's exquisite reproductions in scroll form of an ukiyo-e painting by Kaigetsudo Ando, who worked in Edo in the early 18th century. In his studio he shows me this colorful woodblock print, which is carefully mounted on a silk scroll.

"This one image took me one full year to make," Bull says. "So far this is my biggest accomplishment."

Not only for the time it needed, but also it marks a step up in sheer size from his usual smaller format woodblock prints, which he has been making for more than 20 years. His woodblock print series are made in editions of about 200, and are collected by Japanese and overseas clients.

In 1998, he completed his Hyakunin Isshu series, a set of prints depicting poets of ancient Japan. It took him 10 years.

Interestingly, in Japan, woodblock prints are not highly regarded today - unlike calligraphy, pottery, ikebana, or haiku, Bull explains. So how did he get interested in the world of moku hanga?

"Thirty years ago, I lived in Toronto, Canada," Bull recalls, "and there was a boom in Japanese restaurants. I liked the light, fresh food there, and gradually became interested in Japanese culture as well."

One day a local gallery was showing Japanese woodblock prints, and he was intrigued, and became fascinated by them.

He was very curious about how the prints were made, and loved the colors and texture of the works.

"A seed for my future life was planted right there in that gallery," says Bull. Then, on a train from Toronto to Vancouver, he met a Japanese woman, fell in love and in 1986, moved to Japan with her.

"I originally worked as an English teacher and studied woodblock printing by myself," he says. "My teachers were the long-gone workers from 100 years ago, and I had to learn everything from scratch - the reproduction of the image, the carving, the printing, the selling."

In older times, Bull continues, "designing the print, carving it, printing it, and publishing were all done by different people. Everybody involved was the top in his field, and that is why the superb craftsmanship of these old prints never again can be reproduced."

Bull jokes that, "I am maybe one of the best carvers alive today, but certainly not the best printer!" Nevertheless he plans to take the ultimate step, to design the images for his next print series "My Solitudes" as well - a personal challenge he very much welcomes.

This new project will consist of prints of three places (a riverbank, a forest, a sea coast) during the four seasons of the year. These woodblock prints will be published in editions of 12 fine-printed and bound books, featuring stories of his experiences in Mother Nature as well.

"It is incredible," he says. "There are these absolutely quiet remote places right in Tokyo where you don't meet a soul and the hectic city life seems far away. Sitting quietly in front of my tent, I am never bored.

"So much is happening there: a hawk catches a fish only meters away, birds are singing, insects are crawling all over the place, and at night, the many different sounds of the river sound like one fantastic orchestra."

TV Listings

The 'Woodblock Shimbun' has a full selection of TV programs on file. Videos available include some of David's news appearances, complete feature programs, and some short documentaries on his work. The files are in QuickTime format, and can be easily viewed with your browser.
Program listings are on the Index page ...

Woodblock Man Carves Niche

Woodblock carver David Bull refuses to be called an 'artist' or 'sensei'. "I'm just the guy who carves a piece of wood," Bull said. "All I do is copy what the real artists did." Since 1989, the Canadian university dropout who once played the flute on the streets of London has spent many hours bent over his woodblocks, nose and beard almost touching the surface, as he carved toward a self-appointed goal: the recreation of 18th century ukiyo-e artist Katsukawa Shunsho's 'Hyakunin Isshu: Poems from One Hundred Poets' series. (1999)
Full Story.

World of Japanese Craftsmen: Printmaker David Bull

"Have you ever seen a woodblock print?" asked printmaker David Bull, with a twinkle in his eye. Up until that point, I thought had seen a fair few. He then turned off the light overhead and steered me toward the sunlight streaming through the window, putting one of his latest prints in my hands. Sure enough, what had seemed a lovely design under the harsh fluorescent lighting took on a new depth in the soft glow of the winter sunshine. The colors were richer, the fuzziness and subtle grain of the handmade paper was readily apparent and the impression left by the wood-blocks used to print the design could be seen to full advantage. (2001)
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Enchanting Japan

Colourful woodblock prints - for people all over the world, to hear this phrase is to think of Japan. Japan has a long history of woodblock printing, or hanga, originally for illustrations for books. By the late seventeenth century, hanga in the ukiyo-e style came into its own as an art form, and prints came to be appreciated on their own merits. The many woodblock prints that accurately depict life in the Edo period are excellent examples of this tradition. Whether a print of a geisha, a kabuki actor strutting on stage, or even a completely modern image, the woodblock printing technique seems to provide the perfect means of expression to capture the essence of things Japanese. (1998)
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