I have lived in Japan for 30 years, the last 20 in Kamakura, and before that, 10 in Tokyo. Kamakura was the site of the first shogunate, an upstart government that ruled from 1192 to 1333. The shoguns and later rulers of Kamakura brought in garden designers and Zen philosophers to bolster their legitimacy in their perpetual rivalry with Imperial Kyoto. Long after its days as the capital were over, Kamakura retained an independent serenity as home to many temples and shrines, its environment of wooded hills and seashore continuing to attract philosophers, writers, and artists. I am one of them.

My photogravure etchings are made in limited editions in the Kamakura workshop I started in 1991. For their depth, texture, and tonality, these prints have found their way into numerous public and private collections. They are viewable at the Kamakura Print Collection site, where viewers may select images by mood, texture, ink, paper, Series, size, price, and place.

Because many people consider artwork peripheral to their lives, I started writing views expressing the primacy of vision, compiling examples from my travels and reading of the ways graphic arts enhance everyday life, and vice versa.

The present blog, the one you are reading now, concerns the ‘cultural commons’ of philosophical, literary, sociological, and scientific, as well as artistic pursuits. I originally came from the United States to Japan for business purposes, then learned the 19th-century technique of photogravure etching and have practiced it in Kamakura since 1991. This trajectory has given me a perspective on both countries, and the rest of the world, that is different from what it would have been had I stayed in America. One of the differences is that the mirrored-self-image of each is for me almost transparent. Seeing through them can be amusing, exasperating, and for readers, I hope, enlightening.


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