Written on October 11, 1989 [Permalink]

October 8

The traditional crafts display day at the Arakawa-ku Culture Center. Caught a 7:30 train to get there by the 9:30 opening. Spent a most interesting morning at the carver's booth talking to Susumu Ito, who, judging by the work I've seen so far, is pretty much the best still alive. After a bit, we became surrounded by onlookers, and the Nihongo was flying pretty thick and fast. I sat there in the middle, trying to understand what I could, hoping to be able to remember at least some of it later. The talk was mostly about tools and sharpening, and what he was saying was completely different (again!) from what I've seen before. He sharpens with sideways movements, as opposed to the forward and back strokes that I use, and have seen elsewhere. He stated flatly that it was impossible to get a good edge that way ... He felt that my 'to' blades (the new ones) were fine, but that my 'aisuki' blades (cheap ones I bought years ago) were garbage.

Probably the most impressive part for me was watching him carve the hair lines on an Utamaro print. This is the first time I've seen this done, and I only hope that I can remember what I saw when I try it myself. Of course, after I got out of there I frantically tried to scribble down some notes about what I had seen ... The printer Sekioka-san was also there.

Kheeseng-san dropped by as arranged, and we went for lunch to discuss his Thai murals, and the Hyakunin Isshu project. He asked to join the subscriber list. He seems quite interested in getting involved with print-making somehow, and will call later to make an appointment to come round and see about 'getting started'. He seems like quite an interesting guy. I spoke to Matsuzaki-san later about the mural project, to feel out his interest, and he said that if he was ever asked, he'd love to get involved with that kind of thing. We'll see what comes of it all...

After the affair packed up in the late afternoon, Matsuzaki-san and I helped Ito-san trundle his stuff home. He asked us in for tea, and I got a glimpse at his workshop area, a tiny (two-mat) room with the most 'soul' filled carving bench I've ever seen. We didn't stay long however, and I didn't get much of a chance to see anything of his working habits, etc. I'll send him a note tomorrow, thanking him for the time he spent, and trying to wangle an invitation to visit ...

Next, it was over to Matsuzaki's place, for an impromptu printing demo, and a chirashi sushi dinner. He and his wife have really gone out of their way to be friendly and supportive, and we sat and talked until about 9:00, about our respective work, the future of printmaking, etc. etc. A most enjoyable time. Every time I spend a day like this, I promise myself that I'll get down to Tokyo more often, but the bottomless pile of work waiting on my desk usually squashes any such projects... With the customer list now seeming to be increasing again, after a hiatus, can the 'End of English' be in sight? Stay tuned!

October 9-10

Two full days (almost) of carving, carving, carving. Instead of continuing with the kimono pattern, which is only about a third done, I flipped the block over and started work on the other side, the main outlines of the image. It feels good to get going again after Sunday's 'refresh'.

Wrapped up prints for Kheeseng, and shot off a letter to some people from Sunday who seemed interested in the project, along with thank-you notes to Matsuzaki-san and Ito-san.

October 11

A phone call reply to the letter to Mr. Fujimoto in Kobe (who had called on the 5th). He says that 'I have many company president friends, and I would like to show them your work'. I arranged to send a sample pak. Just before we hung up, he asked me why people were interested in this work, and I mentioned that some of them were Hyakunin Isshu fans, and some were just hanga fans. His comment - 'Oh! You make hanga too!' I think perhaps I've been fooled by his apparent good English, and I don't think he really understands half of the words he is using ...