Drawing, more than a discipline, is a place I can delve into
and get lost, only to reappear elsewhere.
It is something unexpected and is always frightening.
My only companion is the faith to go on, line by line, no second intentions, devoted to the task, trusting that the drawing will grow, if only I protect it from trends, discourses, and other easy temptations of the ego… if only I protect it from myself can it develop and perhaps became a sanctuary for other viewers.
Maribel Mas
Translated by David Burnett.
El dibujo, más que una disciplina, es un lugar donde puedo adentrarme y perderme, para reaparecer en otro punto.
Es algo inesperado, que siempre atemoriza.
Sólo me acompaña la fe de seguir adelante, línea a línea,
sin segundas intenciones, entregada a la tarea, confiando
que el dibujo crecerá si lo protejo con dedicación de tendencias, discursos y otras tentaciones fáciles para el ego… sólo si lo protejo de mi misma puede que se desarrolle y sirva de refugio a otras miradas.
Special thanks to:
Norito Hasegawa, Shingo Nishimura and Tsuyoshi Nakahara,
Japanese paper masters from Aoya and their families,
for sharing their hand made "Inshu Washi" from Tottori province: unique Ganpi, Kouzo and Mitsumata papers.
Thomas Siemon, printmaker at his "carpe plumbum" workshop in the Spinnerei Leipzig, for selecting and preparing the wooden discs to print their annual growth rings.
Galerie Hoch und Partner, for showing "Time Lines" series (Zeitlinien) in their space in Tapetenwerk, Leipzig.
Norito Hasegawa, Shingo Nishimura and Tsuyoshi Nakahara,
Japanese paper masters from Aoya and their families,
for sharing their hand made "Inshu Washi" from Tottori province: unique Ganpi, Kouzo and Mitsumata papers.
Thomas Siemon, printmaker at his "carpe plumbum" workshop in the Spinnerei Leipzig, for selecting and preparing the wooden discs to print their annual growth rings.
Galerie Hoch und Partner, for showing "Time Lines" series (Zeitlinien) in their space in Tapetenwerk, Leipzig.
