 does an impressive work in woodcuts: a mixture of naïve style, realistic depictions and symbol-like simplifications. Printmaking has a huge value in the history of illustration as a means of reproduction of art, one of many reasons that such a meticulous work as hers gets our attention. As she said, the conflict of the oddity of the technique and fugitiveness of the moment changes the perspective of conceiving representation itself. I had the privilege of talking to Gabriela, and refresh my curiosity about her working process: “The wood actually doesn’t want you to cut into it. It always works against you. It’s just not as easy going as drawing with a pencil, when you have done something wrong, you cannot undo it. Even though it sounds negative, it actually helps me to think about what I am doing. I often do prints in-between the cutting process and reconsider the picture based on the latest print. Therefore, you can never say in the beginning how the picture is going to look in the end. I kind of take many short-cuts and detours. And suddenly I know, [...]){kind=small}
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Covering the gap between an ancient tradition and the contemporary taste, Gabriela Jolowicz (Germany, 1978) does an impressive work in woodcuts: a mixture of naïve style, realistic depictions and symbol-like simplifications. Printmaking has a huge value in the history of illustration as a means of reproduction of art, one of many reasons that such a meticulous work as hers gets our attention. As she said, the conflict of the oddity of the technique and fugitiveness of the moment changes the perspective of conceiving representation itself. I had the privilege of talking to Gabriela, and refresh my curiosity about her working process:
“The wood actually doesn’t want you to cut into it. It always works against you. It’s just not as easy going as drawing with a pencil, when you have done something wrong, you cannot undo it. Even though it sounds negative, it actually helps me to think about what I am doing. I often do prints in-between the cutting process and reconsider the picture based on the latest print. Therefore, you can never say in the beginning how the picture is going to look in the end. I kind of take many short-cuts and detours. And suddenly I know, it is done. Any more detail would kill the whole thing.”
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