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Came across the website of this Italian printmaker who works under the pseudonym of Ligustro and was born in Imperia (Italy) in 1924. Since 1986 he has dedicated himself exclusively to the study of Japanese coloured woodblock printing and the Nishiki-e techniques in use during the Edo period, creating hand-prints on highly prized paper produced in Japan using traditional craft methods. He gives lectures and practical demonstration to bring this artistic technique and its fascinating history to the general public.

The main website is here: http://www.ligustro.it/

Here is a link contributed by David Bull with more information and larger images: click here for more images . Right click to download pdf.

Larry: Can you tell me something about your arts education in elementary and high school? What about college also?

Amie: My parents kept me entertained from a very early age by providing me with newsprint and crayons. I've kind of been hooked on art ever since. I enjoyed art throughout my schooling, although I wouldn't say I had great art instruction, especially not in high school. I didn't take art for my post-secondary degree; I have a B.Sc. (Hon.) in conservation biology. Most of what I learned was either self-taught, through my grandmother (Caro Woloshyn, an accomplished artist), and I took continuing education courses and workshops through the Federation of Canadian Artists, Emily Carr University of Art & Design, and a local printmaking studio, Dundarave Print Workshop, to expand my knowledge in specific areas, such as elements of design and composition, colour theory, and techniques (painting, printmaking, drawing, etc.)

Larry: Where do you get the inspiration for your prints? From photographs, from life experiences, etc.?

Amie: The inspiration for my work comes from my fascination of the world around us. My scientific background strongly influences my choices of subject matter. Nature and the artifacts of civilization are my subjects. The interaction and inter-relationship of our technological heritage with nature, the irony of the competition between nature and progress, and the sheer beauty and diversity of the natural world form the content of my current work. My imagery is realistic, but my focus is often abstracted through magnification or cropping to an almost unrecognizable result. I work almost entirely from photographs, because then I can get the detail that I wish to achieve, especially with mechanical subject matter.
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