Artist Research: Fujiko Rose
One of my favourite programs to watch is the Landscape Artist of the Year on Sky Arts and this week whilst catching up on the series, I was introduced to an artist called Fujiko Rose. The episode took place at the Quayside in Newcastle where she illustrated the iconic Millennium bridge in her signature style. At just 20, Fujiko was a professional artist before entering the competition and is the co-creator of 'Zanshin Studio', a decorative art studio run by Rose and her mother who experiment with screen-print to make home décor and wallpaper.
Fujiko Rose works predominantly with a monochromatic colour scheme, using black Indian ink with a dipping pen and brush creating landscapes that "Contrast man-made structures with its organic surroundings, soft foliage complimenting harsh crisp edges of architecture." Her talent in complex composition and advanced knowledge of utilising light sources is incredible for someone so young. Looking at her submission for the competition entitled 'Home', it portrays her love for but architecture contrasted with the rich vegetation and botanicals that entwine her house. Rose uses the intense black ink to add geometry to the piece, being used to frame the window and shaded leaves. By using the black shades in different densities, it adds depth to the piece however the geometric shapes that frame the composition give it a 2D quality. It's the sort of illustration you get lost in; there's so much to see your eye is almost compelled to explore the whole canvas. On Rose's website, she speaks of capturing moments that she loves through her work, like when her home gets lost in foliage in the summer months. This resonates with how I feel about producing art that you have an emotional connection with, something that you want to share with the world in a positive light always makes the process enjoyable and outcome memorable.
With a broad range of interests in many elements of design, she draws inspiration from the world around her as well as renaissance interiors, modernist art and Japanese woodblock prints; portrayed in the method of her working and link to modern industrialisation. With factories and built-up places being a focus in many of her illustrations, she juxtaposes this with her intricacy of linework by using saturated ink to block out shapes. She then creates textures with a watered-down wash of grey tones playing with depth by using lighter shades in the background; this connotes a mysterious and eerie atmosphere seen in the Battersea Power Station piece that she did which combines geometric lines with the fragility of the landscape that surrounds it.
I was intrigued to find out how she manipulates such a simple medium to achieve such a complex texture and linework by hand. Rose uses masking fluid for textures in the water and add continuity in the rustic effect through the landscape; the scratches and white space help add contrast in light and dark which is something I've struggled with when using ink as its not a forgiving medium!
It's interesting to see how simple her collection of materials are with just ink a collection of black pens and masking fluid being used. Rose found an early interest in woodblock prints and etchings from growing up being immersed in Japanese culture. This has influenced the way in which she composes her artwork, with ink being a highly regarded medium in western countries like China and Japan. Unlike paint, working from the foreground to the background always works most effectively with ink as you can gauge ow the tones of the skyline should be in relation to the nearest point. The simple medium also allows you to be more experimental and playful as it has no limits to the way you use it.
Overall I'm so glad to have found out about Fujiko Rose and will continue to follow her progress on the back of winning Landscape Artist of the Year 2019. Her artwork exemplifies aspects of printing techniques that inspire me (etching and screen printing, for example) so it's exciting to see someone apply them and create something so distinctly unique, bringing into the 21st Century by combining it with modern art movements.
Fujiko Rose works predominantly with a monochromatic colour scheme, using black Indian ink with a dipping pen and brush creating landscapes that "Contrast man-made structures with its organic surroundings, soft foliage complimenting harsh crisp edges of architecture." Her talent in complex composition and advanced knowledge of utilising light sources is incredible for someone so young. Looking at her submission for the competition entitled 'Home', it portrays her love for but architecture contrasted with the rich vegetation and botanicals that entwine her house. Rose uses the intense black ink to add geometry to the piece, being used to frame the window and shaded leaves. By using the black shades in different densities, it adds depth to the piece however the geometric shapes that frame the composition give it a 2D quality. It's the sort of illustration you get lost in; there's so much to see your eye is almost compelled to explore the whole canvas. On Rose's website, she speaks of capturing moments that she loves through her work, like when her home gets lost in foliage in the summer months. This resonates with how I feel about producing art that you have an emotional connection with, something that you want to share with the world in a positive light always makes the process enjoyable and outcome memorable.
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| Submission Piece for Landscape Artist of the Year 2019, 'Home' |
With a broad range of interests in many elements of design, she draws inspiration from the world around her as well as renaissance interiors, modernist art and Japanese woodblock prints; portrayed in the method of her working and link to modern industrialisation. With factories and built-up places being a focus in many of her illustrations, she juxtaposes this with her intricacy of linework by using saturated ink to block out shapes. She then creates textures with a watered-down wash of grey tones playing with depth by using lighter shades in the background; this connotes a mysterious and eerie atmosphere seen in the Battersea Power Station piece that she did which combines geometric lines with the fragility of the landscape that surrounds it.
I was intrigued to find out how she manipulates such a simple medium to achieve such a complex texture and linework by hand. Rose uses masking fluid for textures in the water and add continuity in the rustic effect through the landscape; the scratches and white space help add contrast in light and dark which is something I've struggled with when using ink as its not a forgiving medium!
It's interesting to see how simple her collection of materials are with just ink a collection of black pens and masking fluid being used. Rose found an early interest in woodblock prints and etchings from growing up being immersed in Japanese culture. This has influenced the way in which she composes her artwork, with ink being a highly regarded medium in western countries like China and Japan. Unlike paint, working from the foreground to the background always works most effectively with ink as you can gauge ow the tones of the skyline should be in relation to the nearest point. The simple medium also allows you to be more experimental and playful as it has no limits to the way you use it.
Overall I'm so glad to have found out about Fujiko Rose and will continue to follow her progress on the back of winning Landscape Artist of the Year 2019. Her artwork exemplifies aspects of printing techniques that inspire me (etching and screen printing, for example) so it's exciting to see someone apply them and create something so distinctly unique, bringing into the 21st Century by combining it with modern art movements.
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| Royal Institute of British Architects Commission piece from Venice |
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