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Yuki (2007) ed. 13/50 38 x 28 cm, lithograph, hand-colored
Yuki (雪): Shinoda often employs actual words in her work with no reason but that she liked the shape of the word.
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Ancient Dream (2007) ed. 19/50 38 x 28 cm, lithograph, hand-colored
Asaki Yumemishi: This is from the Iroha poem.
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Longing (1996) ed. 19/35 63 x 46 cm, lithograph, hand-colored
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Ancient Journey (1996) ed. 18/30 72 x 53 cm, lithograph, hand-colored
Tabi (旅): This lithograph was released for a special Shinoda exhibition at the Singapore National Museum in 1996.
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Ancient Poem (1996) ed. 18/30 72 x 53 cm, lithograph, hand-colored
Irohanihoheto (伊呂波）: This lithograph was released for a special Shinoda exhibition at the Singapore National Museum in 1996.
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「硯。大きいものを作ることが多いので、二尺と一尺ぐらいの宋端渓を使っている。毎朝1合ほどの水を硯の海に注ぐ。・・・
墨を磨る、というしぐさは、単調な繰り返しに過ぎないが、一種言いようのない官能が、磨墨を通して、手から身に伝わる・・・」
(いろは四十八文字, 教育書籍 1983)
"Inkstone. As I often work in large format, I use Sung Tuan Hsi inkstone of about two shaku(1) by one. Every morning I pour as much as a go(1) of water into the well of my inkstone・・・
"The gesture of rubbing down an ink stick is only a monotonous repetition and yet an indescribable kind of sensual pleasure comes up from the stick, through my hand, to my body・・・"
(Iroha 48 words, Kyoiku publication 1983) |
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Anthology B (1985) ed. 20/38 72 x 53 cm, lithograph, hand-colored
This early work made in 1985 draws our attention to Shinoda’s imagination and her love of classical Japanese literature.
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Heian Verse (1996) ed. 18/35 53 x 70.5 cm, lithograph, hand-colored
"Saigyo" Hakoyagamineno harunimutsurete: This piece is in the art collection of Yale University, donated by The Tolman Collection.
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Letters (1999) ed. 16/50 38 x 28 cm, lithograph, hand-colored
Asaki Yumemishi: This is from the Iroha poem.
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Mystic Texts (2007) ed. 16/35 63 x 46 cm, lithograph, hand-colored
Kokoro mo hanazo mukashi. Hitowa iza shirazu furusato: This piece was one of the last 6 editions that Shinoda-san made in 2007. This piece is in the art collection of Smith College Museum of Art, donated by The Tolman Collection.
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Epigraph (2000) ed. 32/35 45 x 63 cm, lithograph, hand-colored
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Prodigy (1996) ed. 5/30 45 x 63 cm, lithograph, hand-colored
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墨いろには無数の段階があり、かたちづくる心が、濃淡や、線や空間の質となって作られるが、墨痕というふるいことばが示すように、日々の心のありかたが、そこに跡づけられているのを見て、自分で自分に突き当たることが多い。
『桃紅 私というひとり』 (世界文化社 2000年）
The colors of sumi come in many stages, and forms of the mind are created in varying shades of light and dark, in lines and in qualities of space. One is sometimes brought up sharply to notice there the traces of one's everyday state of mind, just as the old word had it: bokkon literally, "tails of ink"
(Toko: Watashi to iu hitori [This is the Person I Am; Toko], Sekai Bunka Sha, 2000) |
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Cadenza (1998) ed. 17/35 98 x 72 cm, lithograph, hand-colored
Joshua Bell, the famous American violinist explained what cadenza meant to him. I realized that what he was explaining as a virtuoso artist was exactly the same feeling that this piece meant to Shinoda-san. I titled this piece “Cadenza.”
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Iroha (1985) ed. 16/28 90.5 x 63.5 cm, lithograph, hand-colored
Toko-san san has always considered herself an abstract artist, using calligraphy as a source of inspiration. Her imagination takes flight and the brushstrokes undergo a transformation.
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Wakayo Tareso (1996) ed. 24/30 72 x 53 cm, lithograph, artis's seal in red
Wakayo tareso tsunenaramu: This "Iroha poem" often appears in Toko-san's work.
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Anniversary (1981) ed. 8/25 70 x 53.5 cm, lithograph, hand-colored
In 1998, I commissioned a portfolio of prints to commemorate the twentieth anniversary of the Tolman Collection. This work is Shinoda san’s contribution to that portfolio. This lithograph is exhibited at the Portland Japanese garden in Portland, Oregon.
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Revelation (1981) ed. 6/35 47 x 53 cm, lithograph, hand-colored
On occasion, the artist's calligraphy is undecipherable, even to her. The viewer is compelled to find meaning in the strength of the lines, rather than comprehending the text.
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New Illusion (1985) ed. 17/38 72 x 53 cm, lithograph, hand-colored
The artist is not a religious person, but is occasionally inspired by Buddhist philosophy. The quiet simplicity of these pieces asks us to empty our minds, and concentrate on the power of the brush.
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Profusion (1998) ed. 26/35 72 x 53 cm, lithograph, hand added color
Made in 1998, this work demonstrates Toko’s wellspring of imagination. With just a touch of Ming dynasty red, she enlivened the work and a powerful energy emanates from the composition.
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Wildfire (2000) ed. 18/35 53 x 72.5 cm, lithograph, hand-colored
This distinctive edition released in 2000 conveys the unlimited range of Shinoda’s creativity.
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