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New potentiality of photo art

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Pierre Sernet×HORIUCHI COLOR


Surely a dream technique for artists

Photo artist Pierre Sernet created a unique worldview through a production of works that boldly presented couples of various combinations contrasted in black and white in comparison with Japanese erotica woodblock prints at KYOTOGRAPHIE held in May 2019. Horiuchi Color was entrusted for the prints for the exhibit. JETI MIRA, a state-of-the-art true flatbed inkjet printer, was selected by Printing Director Ishibashi to faithfully reproduce Pierre’s concept.

Pierre Sernet


The one concern was Japan's high level of humidity

I wanted to show black’s true color and therefore not frame the works. I worked out this plan beforehand with a curator friend in preparation for the KYOTOGRAPHIE exhibition, and he recommended Horiuchi Color from the print production companies in Japan.
Although I was working with the company for the first time, the introduction came from a trusted friend, and the company (Horiuchi Color) itself did not make a negative impression. My only worry was the problem of the level of humidity in Japan.
I set a very high value on the presentation of black when I display my works. Previously, a print company I commissioned in the United States provided this black in a very pleasant way, and I was pleased with the results, but even in the United States (with its low level of humidity), sometimes the black does not come out in the way you want due to the level of humidity. For that reason, printing in Japan with its high level of humidity itself was the sole concern.

Pierre Sernet

Anxiety was swept away by the test printing
There was the black that I wanted

Black has many gradations from light to dark, and I decided that I wanted to express these differences in the details of the works. I was very moved by the reproducibility of black when I was present for the output of the test printing at the laboratory of Horiuchi Color.
When I asked, I heard that Printing Director Ishibashi had tested many patterns of media (paper), density adjustments, and other factors in advance. Somehow or another, he understood the intention of the works, and so I felt that I was just waiting for the printing that I wanted to be finished.
Even though the black appeared as I wanted in these special prints, using glass in the frames would change the shade and reflect light, so it would no longer be possible to see the black as intended. For that reason, the glass of the framing was removed for this work exhibition, no matter the consequences.

They listened carefully to every request
Their sincere attitude was very reassuring

Print Director Ishibashi's presence was very reassuring for the realization of the plan to remove the glass of the framing. Furthermore, he listened carefully to my unreasonable request to display the works outside. He is obviously a different type of person from other people I have worked with up to now.
Because he knew that the paper would actually swell somewhat due to the effects of the level of humidity, he spent a considerable amount of time through trial and error on what to do about the media (print material). However, these hardships were never seen, and I was deeply impressed by his attitude of acting like nothing had happened.

I want to present works outside
One of my long-held dreams came true

Pierre Sernet workFor a long time I thought that one day I want to display my works outside. When I learned that the output resulted from UV printing when I visited the laboratory, the idea to display the works outside came to mind because the media made it possible.
Usually, works of art are viewed indoors, but the media that uses acrylic proposed for this exhibition can be enjoyed outdoors as well and helped realize something that I had wanted to do for a long time.
The concepts of my art-making always have the thought of "I want to contrast cultures and the environments that surround them" at their base. It has a message that, although there are different appearances and parts due to the differences of countries and cultures, in the end, people have one set of roots, so we should accept each other more.

Pierre Sernet and Ishibashi of Horiuchi Color

Horiuchi Color Printing Director Ishibashi and Mr. Sernet at his home


The technological and support strengths of Horiuchi Color aid the artists of the world

Who to call is an important question for artists like me that entrust printing to an outside company. Even in that sense, Ishibashi's support, politeness, and attentiveness to detail after listening carefully and fully to my desires helped me tremendously.
The presence of a director that understands the intention of the work and proposes the ideal media and concentrations and the machine that can adjust the concentration of black by percentages and can print at the perfect concentration. I thought this is surely a dream technique for artists like me.
I felt strongly that the technological and support strengths of Horiuchi Color most certainly will aid the artists of the world. Such technology and printing know-how must be shared with more of the world.

Yasuhiro Ishibashi


Method to spray directly on high-density bone-white acrylic using JETI MIRA

For this project, most of the trial and error focused on the compatibility of the media. For example, for the choice of glue, it was not acceptable to use just any type. A method was also implemented to support the reverse side of the work with Alpolic to increase its strength so that the work could be frameless but still resistant to the level of humidity and express the black as intended.
Eventually, we arrived at the method to pour in and compress the liquid to increase the density of bone-white acrylic, and then spray directly on the acrylic using the JETI MIRA. This naturally reproduces the black and strengthens the works, which prevents swelling due to the level of humidity. Furthermore, solidification of the ink means that things like fingerprints do not adhere, even when the works are touched by the fingertips. It was possible to create the ideal media.

Profile

Pierre Sernet

Photo artist

Pierre Sernet

Born and raised in France, he studied art at the Ateliers du Carrousel of the Musée du Louvre, Paris. In his early twenties, after working in photography for several years, he moved to the United States, where he pursued a successful business career. His activities included the creation of the first, and what was to become the largest, fine arts database in the world—Artnet.com. Since returning to his art-making, he has performed and exhibited in major galleries and museums in the United States and abroad.

Official Website http://pierresernet.com/

Yasuhiro Ishibashi

Horiuchi Color Printing Director

Yasuhiro Ishibashi

Joined the company in 1977. Worked for 10 years as a Production Director and now belongs to the Photo Art Department of the Photo Imaging Center. As Printing Director, answers all printing needs based on knowledge and experience gained over many years. Has gained tremendous trust from both inside and outside the company and has experience with many works of famous artists. His hobbies include outdoor activities and marine sports.

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Presentations that are possible because of JETI MIRA

thick

Thick built-up printing

Ink can be built up to about 3 mm. Wavy presentations like oil paintings and thick buildup of distinct text are possible.

  • acuity
    Thick build-up
  • truepress
    Transparent gloss
  • jet
    Various materials
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