Evidence A 1963

Hiroyuki Tajima made "Evidence A" using a printmaking technique to create this rich field of ochre and brown. I'm looking at this, and thinking about process - how Tajima built up these layered colours and textures. I imagine him, in the studio, perhaps a bit hunched over the printing press, inking the plate, wiping it back, adjusting the pressure, and pulling the print. There’s something so physical and tactile about printmaking. It’s not just about the image; it’s about the surface, the bite of the acid on the plate, the way the ink sits on the paper. The central yellow rectangle, with its shadowy figure at the top, is a focal point, set against the darker background. It feels like a window, or maybe a doorway, into a different space. These colours suggest warmth and depth and resonate with the history of abstraction and the material exploration of paint. It reminds me of other artists who worked with layering and texture, like the Gutai group. It's all part of this ongoing conversation, each artist building on what came before, pushing the boundaries.