Giovanni Berio / LIGUSTRO (1924-2015)

Ligustro has been intensively involved in the study of Japanese woodblock prints since the mid-1980s. He is thus part of a longer tradition of Western artists who have specialised in this medium - from Friedrich Capelari, Paul Jacoulet, Helen Hyde, Berta Lum, Lillian May Miller to contemporary artists such as Robert Binnie. What is unique about Ligustro, however, is his approach. As an autodidact, he acquired the technique of Nishiki-e and then internalised and modified it according to his very own ideas. Nishiki-e literally means "brocade image" and refers to the Japanese method of producing multi-coloured woodblock prints by first cutting several wooden plates (one for each colour) and then printing them with high precision. The technique was developed in the 1760s and perfected and popularised by the printmaker Suzuki Harunobu (1724-1770).

While Japanese ukiyo-e woodblock prints have a large but limited colour palette (mostly 10 to 20 plates), Ligustro modified the technique in order to use an unlimited number of colours. In this way, he created works with up to 100 different colour tones or even more. Another characteristic of Berio's prints is the use of the old Japanese luxury printing techniques such as the application of gold or silver pigments.

The Floating World of Ligustro

The themes Berio deals with in his art are as manifold as the colouring. He portrays Mediterranean motifs, such as the Ligurian landscape and nature or his hometown and combines them with Far Eastern subjects and the calligraphic values of Japanese writing. In this way, he creates works of highly individual symbolic power, enhanced by intensely luminous colours.

Ligustro achieved particular mastery in the execution of his Surimonos and Egoyomis. These independent genres within Nishiki-e refer to very precious prints that were privately commissioned, not intended for the public but used within private circles and made for special occasions. They are often very elaborate designs in an extremely delicate and precious execution. The images are accompanied by short poetic texts whose meaning often remains veiled. In Ligustros prints with Japanese writing, the relationship between image and text is much more direct and both refer to each other. Haiku poems become a description of the drawing and contribute to a better understanding of the work.

The originality of the subjects, the brilliance of certain backgrounds worked with metallic, pearl or mica powders, the bright colours, the delicate nuances, combined with a very clean, subtle and precise drawing of lines, testify to Ligustro's great craftsmanship.

This was also noted by the aforementioned Jack Hillier in his text on Ligustro: "Berio Ligustro seemed destined to become a printmaker, and in particular a woodblock printmaker [...]. The artist's most astonishing gift is surely his superior ability to cut the blocks and achieve printing effects that rival the virtuosity of Japanese craftsmen. [...] There is always an unexpected poetry in his prints, expressed in colour woodcuts of incredible perfection. They are unique in modern printmaking."

 For further information, please visit the artist's website: http://www.ligustro.it/