Justin Wilhide’s Japanese woodcuts entitled No More, Meanwhile and Not Yet were inspired by the blurred landscape seen from a train window; an instant in time.
The artist references visual artist and writer Yve Lomax’s book Sounding the Event, where Lomax describes ‘meanwhile’ as “time without any points”. She goes on to say “The exact instant of a present moment wavers; the present is a wavering breadth of boundary.”
“I was drawn to the idea of creating a work in woodcut that demonstrates movement and time, perhaps past, present and future where the present is, as Agamben says, the ungraspable threshold between ‘not yet and no more’.
The Japanese woodcuts are made using watercolour pigments rather than oil based inks, and hand-printed using a baren. The watercolour gives a nuanced effect that contrasts with the woodcut’s cut line.
“In a world increasingly driven by the digital, my work celebrates a belief in the haptic and analogue. Woodcuts are time consuming to produce, slow and exacting, built one layer at a time, the result of decision and deliberation. Memory, as narrative, as emotional truth, as time and in its fallibility lies at the heart of all my work.”