This interview with wood engraver Peter Lazarov comes from the series I recorded with book artists living in the Netherlands during December. The full series can be read in the forthcoming issue of Printmaking Today.
I first saw Peter Lazarov’s wood engravings in a monograph from
the Endgrain series published by Barbarian Press in Canada (Endgrain Editions 3: Peter Lazarov, 2003).
Introducing Lazarov’s prints, Crispin Elsted described ‘an element of abstraction’
and the ‘sheer technical finesse’ which ‘moved the idiom into areas we had not
imagined.’
Lazarov’s
encounter with Barbarian Press inspired
him to establish his own imprint in 2002. PEPELpress now has an impressive
back catalogue of titles, and Lazarov revels in the book form, believing that ‘a print within a wider cultural context makes more
sense than one seen alone’. Two recent books respond to works in other media: Siegfried’s Passion (after Richard
Wagner’s opera Siegfried, 2008) and Prospero's Books (2011). Since the Barbarian's homage, he's also been celebrated in the trade publication De prentkunst van Peter Lazarov, available from Stichting Nobilis.
Siegfried’s Passion
NC: When did you first move to the Netherlands?
I
moved here in 1990, knowing next to nothing about fine press books. In
socialist Bulgaria no such phenomenon existed; small presses were always
associated with anti-government activities. . . so although I had almost ten
years experience in wood engraving, it was always hand-printing, not using a press.
When
I arrived I got acquainted with a group of ex libris collectors and, making engravings for them, I came in contact with printers. My first illustrations for a fine press book
were for Arethusa pers in Baarn, in 1991. Many more followed in the next
decade.
Siegfried’s Passion
NC:
The binding structures and paper of your recent books appear to be influenced
by Japanese traditions.
The phenomenon of ‘paper’ was barely
known to me before my first encounter with Japanese papermaking during a
workshop on mokuhan (Japanese watercolour woodblock printmaking) in 2000. I made my first pieces at
the studio of Okuda-san, near Nagasawa.
Three years later, I applied for an
artist’s residency at Awagamy Factory, Awa-Yamakawa, Tokushima. There I got the
chance to learn the craft in the traditional way from the late Fujimory-san. My
residency was dedicated to making paper for my first two PEPELpress books –
RubbingRoads and Shoji. The covers of both books are two-layered kozo with
watermarks related to the images in the books.
The difference between my creative life before
and after Japan was like ‘knowing and not knowing’. Learning a new craft opens
so many possibilities of a practical nature, but it also enriches the
image-making process. Non-European concepts of fragmentation and ‘seeming
misbalance’ entered my work, and I still employ them today.
NC: I see you’ve developed a close
connection with Guanlan Printbase, Shenzhen, China.
The artist printmaker Hao Qiang invited me to work
in the newly established printbase a year ago, when we met during
the 32nd Congress for
ex libris and small prints in Beijing.
The studio setting is a former industrial plant situated between
two small villages (old Hakka-style houses dating from c. 1700), surrounded by a wall. I felt as if I was living in
the Forbidden City in Beijing, protected from the outside world and destined
for glory.
I have not words enough to describe the visiting
Chinese artists, whose generous friendship has been a real gift: Mr Zhao (who had been studying in France in the 1960s - I had to revive my school French again),
Mr Woo (with his cheerful and generous Mongolian spirit), and Professor Zhan (a
great karaoke talent) with whom we plotted an exhibition in Shanghai ... They
represent the generation growing up in the turbulent times around the Cultural
Revolution. Their preference is for figurative work, landscape
and still life, but their trust in tradition, their genuine emotion and superb
craftsmanship makes looking at their prints an engaging experience.
Guanlan was more than ‘yet another artist-in-residence programme’
for me. I had two memorable months filled with positive energy, new
friendships, productive work for which I got total support, and last but not
least excellent food every day. I call this place ‘printmaker’s paradise’.
Half-way
through my stay I took the place of a Chinese artist who was sharing
studio with Hong and that was the beginning of a 'karaoke-bar-like'
working process, which lasted till the very end of my stay there. We were
singing his Korean Pop songs all the time while working and our long hours
of sharing music, smoking, Tsingtao beer, mosquito bites, laughter,
late-night-spicy-noodles and funny/serious conversations turned out to be
an unforgettable experience for me.
NC: Do you generally work with music in the background?
I value music higher than any other form of art because of its innocence. Visual art employs images which need to be deciphered and understood and not just perceived. Music goes directly into our bloodstream. I like the music of Wagner and it is inevitable that my books and
prints will declare this. After Siegfried’s Passion, another one, Parsifal, will be ready for 2013,
the Wagner year.
NC: Is Guanlan Printbase equipped with facilities for printing wood
engravings? Has access to the studios there changed your work?
Wood engraving is one of the few printmaking techniques which fall
outside the rich Chinese tradition. Chinese artists and collectors find it not
only ‘exotic’ but appealing because of the intricate detail. Despite the fact that nowadays the Chinese have become ‘the lords
of fake’ (mass producing or faking anything: cars, old masters’ paintings,
computers, cell phones, fashion accessories, cigarettes …) they genuinely
cherish detailed and technically advanced works. Virtuosity and craftsmanship are
among the oldest virtues in Chinese culture.
The Printbase is equipped with presses for all major
techniques: intaglio, relief, lithography and silkscreen. Butt was not equipped for printing wood
engravings in the European sense, with Korrexes or Vandercooks. So they printed everything by hand from the woodblocks or on an etching press when I engraved something on plastic. And this last option is what Guanlan gave to me – the
opportunity to experiment with large format engravings on plastic. I engraved two large MDF and plastic blocks ... gosh that was so
hard! They were printed by my assistant Liu Li, or Lilly as I called her.
It was touching to see this tiny girl
printing my large blocks on sheets of paper bigger than herself.
Prospero's Books
NC: How did the idea for Prospero's Books come about? Does it visually reference Peter Greenaway's film (1991), or
have you used the text as a starting point for your own ideas?
A friend of mine, Sieds de
Boer, came up with the idea of making a semi-commercial book with the Dutch
translation of The Tempest accompanied by Peter Greenaway's text, and
contacted him asking for a permission. He approached me
with a proposal to make illustrations for his edition. I agreed, with the
request that I would make my own limited edition only with his text, which
is absolutely fascinating.
My intention wasn’t to map the images of the film nor to
illustrate the books mentioned in the imaginary catalogue of Prospero’s books.
It was rather to give a slice of Prospero’s mind… to
make a movie on my own. That’s why the book has a strange binding in the
middle of the pages, leaving the textual part separated from the images.
NC: I notice you mix silkscreen and wood
engraving in the book. In terms of printing the text silkscreen, this interests me because
wood engraving is often cited as the ideal 'sister medium' to letterpress - was there
a particular reason for not using lead type here?
Why silkscreen? For purely practical reasons. If I wanted this
book ever to be made, I had to think of affordable ways to do it. I know very
well that if all the illustrations were wood engravings or woodcuts the whole would
look much better. The truth is that I didn’t have any more time and resources to
spend. The same goes for all my projects. I believe that images are more
important than execution. Professional perfectionism is great but it is also
vanity. If I often spend a lot of time on wood engravings, it is not to show off my skills,
but because it is the most practical technique for the project at hand.
I am not a letterpress expert – it is too damn difficult and,
let’s face it, lead type has outlived its purpose. Any art has only one purpose
– to be integral part of the big culture of the moment. Hegel himself pointed
out that the living Art could be only contemporary, not historical (this, of
course, was a heated debate between Crispin [Elsted] and I… But we are still
good friends! He wants me to illustrate an edition of Ovid’s Metamorphosis for Barbarian
Press.
