McClain&#;s:
How were you first exposed to printmaking?
Koichi:
When I was about five years old, my uncle brought home a red snapper. He inked the fish, then printed it on shoji paper. This gyotaku, along with eating the &#;plate,&#; made a strong and lasting impression on me.
An example of making a gyotaku print:
httpv://?v=S4BdgXIqxY8
Thanks to seahunter1for the great video!
Tai Sou
McClain&#;s:
What inspires your work?
Koichi:
I am inspired by anyone who celebrates their existence and appreciates the place they live. I receive energy from the indomitable spirit of all living things, including this planet. I am always amazed and fascinated with life. Ordinary is an illusion, every moment of living is a miracle.
McClain&#;s:
You studied at the University of Alberta (MFA ), Pacific Northwest College of Art (BFA ) the Bratislava Academy of Art and the Poznañ Academy of Art. What led you to seek an education in so many places?
Koichi:
I think it was rooted in curiosity as well as dreaming and believing in my passion. Somehow it ended up this way. I did not plan it.
Yaku Maru
McClain&#;s:
How would you describe your creative process?
Koichi:
My creati
Koichi Yamamoto was born in Osaka, Japan in In , at age 16, he moved to Dayton, Wyoming in the USA. Yamamoto completed his Bachelor of Fine Arts (BFA) at the Pacific Northwest College of Art in Portland, Oregon in He then moved to Krakow, Poland in a search for lithography stones. He continued producing works in Warsaw, Poland until and attended Bratislava Academy of Fine Arts in Slovakia in , where he studied copper engraving with printmaker Dusan Kallay. In he produced a series of monotypes at the Academy of Fine Arts in Poznan, Poland. He later worked as a textile designer in Fredericia, Denmark.
Yamamoto moved to Alberta, Canada and graduated with an MFA from the University of Alberta in From to , he was Assistant Professor at Utah State University in Logan, Utah and Assistant Professor at University of Delaware in Newark, Delaware before moving to the University of Tennessee, Knoxville, TN.
Yamamoto has commented about his work: “When I was about five years old, my uncle brought home a red snapper. He inked the fish, then printed it on shoji paper. This ‘gyotaku’, along with eating the “plate,” made a strong and lasting impression o
The professional path of Koichi Yamamoto to the University of Tennessee-Knoxville is deeply rooted in a passion for printmaking and a global perspective on art. His journey began at the Pacific Northwest College of Art (PNCA) in Portland, Oregon, where he graduated in Following this, Yamamoto moved to Krakow, Poland, to produce lithography prints, supported by gallery sales in Portland and, this time, in Central Europe, which provided invaluable exposure to graphic art and its rich history. Eager to further his craft, Yamamoto pursued a Master of Fine Arts degree at the University of Alberta in Canada, a program known for its strong connections with Polish and Japanese printmakers. This experience opened up an international network of artists and competitions that helped shape his understanding of printmaking as a global art form. After earning his MFA, Yamamoto had the opportunity to work in Denmark and later joined Utah State University as an assistant professor in Following a six-year tenure, he taught at the University of Delaware before arriving at the University of Tennessee in A Teaching Philosophy Rooted in Trust and Discovery At the core of his teaching
Koichi Yamamoto, associate professor of printmaking, made the most of a professional development leave in spring of , taking up three residencies in turn. At Double Dog Dare Studio, located on a mountainside above the town of Kalaheo on the Hawaiian island of Kaua`i, he created a series of intaglio prints titled Floating Architecture that were inspired by the forms of the boats moored along the coast. From there, he returned to the mainland for a stint as Artist-in-Residence at Joshua Tree National Park, outside Los Angeles. The desert landscape with its burnt orange rockeries and strange, spare trees inspired him to explore further the intersections of two- and three-dimensional form, creating a series of kites built from prints. Finally, he spent six weeks at Art Print Residence in Arenys de Munt, near Barcelona, and visited Marrakesh; the vibrant palette of the local architecture in these places influenced him to add hand-painted color to his monochrome prints. The results are densely constructed, powerful, mask-like images. Yamamoto’s recent work explores the concept of bisymmetry. He embraces the theory that bisymmetrical imagery is aesthetically appealing to
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