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When I stand in front of a big tree, when I hold a stone in my hand, or when I step into a place, I enter a moment when I encounter and greet everything deeply and silently. This is a valuable moment for me. So, I want to create prints that remember that kind of time and that kind of space, and my work serves as my attempt to taste thoroughly and to digest fully what this all means. The water-based woodcut print involves a process that allows me the time to re-think and re-imagine what I see and feel. Then when I transfer the images onto hand-made Japanese paper (washi) using water-based colors, I witness how soft, tense, and deep images spread over an empty space. Moreover, each time I add another color to the print, my identity as the one who initially drew the image becomes less important and in that gap, I sense a silence that distances me from my work. As I participate in the mokuhanga process, I have discovered over and over the importance of understanding how each step in the process changes and alters my initial conceptions. 

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