WALKING No. 1
each print is unique and handpainted
@ Lesia Maruschak
edition 3, + 2 AP 100 x 150 cm
edition 5, + 2 AP 50 x 40 cm
Japanese Handmade Paper, Egg Yolk, Wine, Tempera, Pigments, Wax
“If you are ready to leave father and mother, brother and sister, and wife and child and friends, and never see them again - if you have paid your debts, and made your will, and settled all your affairs, and are a free man - then you are ready for a walk." David Henry Thoreau
I remember my daughter taking her first steps – months of expectation for those split seconds, witnessed by an entire family, just before she realized the freedom she attained - a little wobble and hands searching for something to hold onto and balance before the first fall. She was free, and inside the bipedal motion – time ran – and then suddenly stopped again as she fell – over and over. We watch for what seemed like hours that first evening, as she reminded us of life's beauty and fragility. Propelled in the fluidity of steps, walking sets us in motion. We find ourselves between the mountainsides, on the stones of the crumbling paths and the ever-disappearing mud roads. The rhythm and intimacy of walking in step with someone takes us to place only understood by quantum physics. Rushing through the rain with a lover, step-in-step, the pace quickening as the rain intensifies, watching the clouds blown by the wind dispel all their water, transcended by the intimacy of a path for two shared as if one.walking is made of many paths - the single and the universal. It is of the familiar and the unknown, is a hiker finishing an expedition, is a child taking it’s first step, is a couple walking hand-in-hand, and is a pacing runner. It is the child leaving home, the mourners with a coffin, the pilgrimage of the faithful, and the refuges crossing borders. It is wo/man - one and together - single-file and a crowd. It is common activity, revealing our humanity and unity.
WALKING is an ongoing series. Reworked landscapes of the Canadian prairies and Danish coastline set the tone for this body of works entitled No. 1. The chiaroscuro mode highlights the nuanced warm and cold tones, the variances of greys and whites, and the movement presented in each frame. Reworked and reprocessed deteriorating and damaged photographs, found in vintage albums orphaned on the EBay marketplace, are entangled with the landscapes. After being printed on Japanese paper the works serve as a canvas. Using an ancient artistic language which includes pigments made of ash and egg tempera the images are transformed into objects which call out to the seer. Finally, they are encased in wax which is lightly brushed by hand. Each artistic step is a metaphor for the journey towards the inner world, a place of fragility, uncertainty and freedom.