Miranda Book

CONTEMPORARY INTERNATIONAL

EX ‐LIBRIS ARTISTS

1

CONTEMPORAY INTERNATIONAL

EX ‐LIBRIS ARTISTS

Publicação concebida,

organizada e dirigida por /

Publication conceived,

organized and directed by /

Publication dirigée,

conçue et réalisée par/

Artur Mário

da Mota Miranda

*

Edição realizada em

Outubro de 2017,

com a tiragem

limitada a 150

exemplares.

*

This book was

published in

October 2017,

in a numbered

edition limited

to 150 copies.

*

Édition réalisée

en Octobre 2017,

numérotée,

avec un tirage

limité à 150 exemplaires.

*

Paginação e

tratamento de imagem:

Ana Maria Amorim

anamariaamorim@gmail.com

*

Grafismo:

Artur Mário da Mota Miranda

arturmotamiranda@gmail.com

EAGLE

Ex libris for Biblioteka Publiczna

w Sokolowie Malopolskim, Poland.

Opus 37, designed by Ewelina Rivillo,

Poland, in 2017, pp. 132/137.

An eagle with feather flying

over the book.

2

OS ARTISTAS

THE ARTISTS

LES ARTISTES

Prof. Hasip Pektaş (Turkey)

Yulia Protsyshyn (Ukraine)

Murat Ertürk (Turkey)

Debora Chapman (Canada)

Igor Baranov (Russia)

Nina Kazimova (Russia)

Alexandr Ulybin (Belarus)

Nazan Sönmez (Turkey)

Elena Felicia Selejan (Romania)

Joanna Budzynska ‐Sycz (Poland)

Betül Uras (Turkey)

Yaroslav Makarov (Russia)

Tamás Havasi (Hungary)

Nurten Erdogan (Turkey)

Obiora Obieze (Nigeria)

Suğgur Kars Şahin (Turkey)

José Salvador Antúnez Caracena (España)

Ewelina Rivillo (Poland)

Dilara Oktar Gürses (Poland)

Boris Tkachenko (Kazakhstan)

Iram Wani (Pakistan)

Javier García del Olmo (España)

Eduardo Henriques D’Castro (Brasil)

Wejdan Najah Alshamary (Iraq)

Patrick Aubert (France)

WANDERING MIND

Ex libris for Luigi Bergomi, Italy,

by Yulia Protsyshyn, Ukraine,

in 2014, C3C5C7, pp. 12/19.

Composition theme is a labyrinth within which a fountain is the source and center.

The two faces are stone sculptures and the entrance marks the victory of spirit

over matter, eternity over time.

3

AGRADECIMENTOS ACKNOWLEDGEMENTS REMERCIEMENTS

Prof. William E. Butler

Sergey Ptukhin

Dr. Semen Ivensky

Marziya Zhaksygarina, Phd.

Nannan Wang

Daniyar Otengen

Suzana Fântarariu, Phd.

Olga Antropova

Prof. Hasip Pektaş

Yulia Protsyshyn

Murat Ertürk

Igor Baranov

Nina Kazimova

Debora Chapman

Alexandr Ulybin

Nazan Sönmez

Elena Felicia Selejan

Joanna Budzynska ‐Sycz

Betül Uras

Yaroslav Makarov

Tamás Havasi

Nurten Erdogan

Obiora Obieze

Suğgur Kars Şahin

José Salvador Antúnez Caracena

Ewelina Rivillo

Dilara Oktar Gürses

Boris Tkachenko

Iram Wani

Javier García del Olmo

Eduardo Henriques D’Castro

Wejdan Najah Alshamary

Patrick Aubert

INTER FOLIO FRUCTUS

Ex libris for Alexander Mikhailov, Russia,

by Nina Kazinova, Russia, pp. 36/47.

2016, Opus 262, C3C5.

Portrays a page from the book of etchings “Inter folio

fructus”. A scene from the work Konstantin Somov (1869 ‐1939)

in “Marquises Book”. The motto of The Most Noble Order of

the Garter is found here “Hon soit qui mal y pense”.

4

Ex ‐libris for Hikmet Simsek, X3, (10x7,5), 1997.

A humorous ex ‐libris for Turkish musician and

orchestra conductor.

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Prof. Hasip Pektaş introduces the Istanbul Ex ‐libris Museum.

Overview of Istanbul Ex ‐libris Museum.

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second and third editions published by the

ex libris society, is a pioneering development

in Turkey. The book addresses the history

of ex ‐libris, its growth in Turkey, ex libris

collecting, printing techniques, ex libris

design, seals, competitions, associations

and publications, erotic ex libris, ex ‐libris

and typography, experimental ex libris, and

contains original examples.

The fifth issue of the internationally peer‐

‐reviewed online journal (http://exlibrist.

net) led by Hasip Pektaş and edited by Ms.

Hatice Oz has been published. Including

research and articles on ex libris, the journal

fulfills its duty to inform people at the

national and international levels.

Ex ‐libris for Luc Van Den Briele, C3+C5, (10x8), 1995.

Karagöz ‐Hacivat (Turkish Shadow Theater)

for a writer of ex ‐libris and theater.

In his ex libris designs Pektaş transforms

experience into new life records by bringing

them together with related visual objects,

especially adding objects of his own

imagination.

Ex ‐libris for Betul ‐Cihat uTuran, C3+C5, (12,5x9,5), 1998.

A ceremonial rhythm instrument on the Hittites.

8

Ex ‐libris for Can Soyer, CGD, (8x12), 2012.

Ex ‐libris for a journalist who is music, dance, film and poetry lover.

Ex ‐libris for Emine Tusavul, CGD, (8x12), 2011.

Ex ‐libris for my friend who has a paper shop. And she love dance.

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Ex‐libris for Tevfik Fikret Ucar, CGD, (8,5x11), 2011.

Shadow and Anatolia.

Ex ‐libris for Murside Icmeli, X3, (10x9), 1994.

Beloved birds ex ‐libris for my

printmaking teacher.

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Ex ‐libris for Hatice Oz, CGD, (12x9), 2011.

Another nude in nature.

Ex ‐libris for Sergey Hrapov, CGD, (11x8), 2004.

Exlibris for my Ukrainian friend.

Cello playing woman and her reflection.

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YULIA PROTSYSHYN

An Expression of Creativity

Oleh Rudenko

Art critic; PhD.

Ukrainian Academy of Printing

Graphic works of Yulia Protsyshyn are filled with metaphors, poetry, symbols that

express the immanent unusual world of the artist. From the depths of rich

textured and expressive backgrounds emerge mysterious shapes and objects.

It is hard to completely understand them …

Born on 12 April 1989 in Ternopil (Ukraine),

from childhood the family library had

a fascinating effect on generating her

passion for creativity. Early inspirations

she took from albums on world art, famous

museums, and individual artists. She used

to replicate old masters from the age of

12, particularly Dutch landscapes of the

sixteenth century. At the age of 14, Yulia

attended art school. She created abstract

compositions, being impressed by Picasso,

Malevich, and Kandinsky.

In 2012 she received her Master’s Degree

in Fine Arts and Graphics at the Ukrainian

Academy of Printing (Lviv, Ukraine).

She was fascinated by the details of

printmaking. Her principal teacher was

the printmaker, Serhiy Ivanov, who formed

her artistic outlook. The metaphorical

language of Yulia Protsyshyn, bordering

on the abstract symbolic, has led her to the

interesting and exciting world of books

and illustration. She started to work with

text and image by seeking different means

of visual expression, mostly by combining

printmaking and hand ‐drawing with

typography. In 2012 under the guidance

of Sergiy Ivanov she completed her

diploma project to design and illustrate the

poetry S. Kocherga, “Meshes of silence”.

The constructivism of 1910 ‐1920 had a

significant impact on her. She is interested

in the architectonics and integrity of the

whole book, where conception and design

interact, when the rhythm of graphic

images and text provides dynamic energy

through geometrical shapes. From then on

she worked as a designer and illustrator

for leading Ukrainian and international

publishers.

Since 2013 Yulia has concentrated on small

graphics and ex libris. She has participated

in exhibitions and biennials worldwide

(Poland, France, Lithuania, China, Belarus,

Bulgaria, Spain, Macedonia, Japan). She

received the Diploma of Honor at the

«Iosif Iser» international contemporary

engraving biennial in 2013 and another

in 2015 from Romania, an Honourable

Mention from the I Exlibris International

Granada Contest, Spain, in 2014, an

Excellent Prize from the 5 th “Red Man”

Art Biennial, China, in 2015. Her graphic

designs are based on figurative symbolism

in which the more realistic figures form

the center of a composition surrounded by

abstract forms. Yulia is deeply committed

to structural composition in order to build

strong visual integrity. She has been using

geometrical shapes, such as triangle,

square, and circle, for the dominant and

subordination all components. The main

components are symmetry, asymmetry,

rhythm, accent, among others. She uses a

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(2013) Ex libris for Juan Miguel Bernabe Lorca

(C3+C5)

DREAMER

Man in a state of dreaming

when the mind is uncontrollable and

all unconscious feelings are fulfilled.

Close by a white bird

enhances flight and weightlessness

against a celestial background.

The central part of the composition is

outlined by the crescent which is

integrated with dynamic forms.

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lot of contrastive juxtapositions, such as

rhythmic alternation of flat and volume,

large and small, light and dark. Rhythmic

strokes such as black spots suddenly

counterbalance thin lines. Textures cause

an emotional and sensual effect on the

viewer.

Yulia likes to improvise by combining the

real with the unreal, the earthly and the

fantastic. Creating a relationship between

the external and internal, the sensitive and

the emotional, the mystical and the explicit,

immerse the viewer in associativity. The

choice of engraving techniques, such as C3,

C5, C7, C8, makes formal design elements.

The creative catharsis of explicitness is

revealed through the thin lines of the

artist that appear on the plates by using

signs, symbols, and allegories. Among her

hobbies are Eastern philosophy and the

esoteric. The main themes that she uses

in her designs are labyrinths with stone

towers and arches, chess, the elements of

air, fire, water, and earth. Yulia likes to

learn new things, and she experiments. She

improves her skills by combining various

printmaking techniques and by using

collage. She creates on a copper plate a

mystical, metaphorical world that defies

verification and axiological confirmation.

Full of symbols, allegory, magical charm ...

Yulia Protsyshyn

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(2017) Ex libris for Guus Willemsen

(C3+C5+C7+col)

THE CORE

The dynamic of a spiral labyrinth with a strong core,

an idea also intended to identify the Knight.

This chess piece can make a move that

even the Queen cannot make.

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(2017) Ex libris for Stefan Wisniewski, Netherlands,

(C3+C5+C7)

HADRIAN'S WALL

The idea of design is based on the Ancient History of the Roman

Emperor Hadrian, known for his building projects, especially

Hadrian’s Wall in northern Britain.

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(2017) Ex libris for Joop Sliep

(C3+C5+C7+col)

BALANCE

The ability to concentrate..

a state of meditation, spirituality, and inner peace.

Creating a relation between external and internal,

sensitive and emotional, secretive and frank,

we can bring ideas and immerse

the viewer in associativity.

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(2014) Ex libris for Sergiy Ivanov

(C3+C5+C7+C6)

A BIRD

The spirit of a bird symbolizes freedom, which is subject

to the elements of fire, air, earth, and water.

The circle outlines a face merging with the body of a bird

– a philosophical parallel between how the birds in flight

hover in the sky and the human soul rises in the body

while thinking and flying above all beings. Created as

a sign of respect and gratitude to the great teacher and

printmaker Sergiy Ivanov.

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(2016) Ex libris for Ferdowsi

(C3+C5+C7)

A CROWN

Dedicated to the Persian poet and author of the epic poem

“Book of Kings” by Ferdowsi. Symmetrical composition

in the evening sky background with mountains.

Wings that carry the crown represent unlimited inner power. Two faces

under one crown symbolize the “yin” and “yang” – always connecting.

19

MURAT ERTÜRK

A Turkish Graphic Designer

Murat Ertürk completed his bachelor and master

degree at Uludag University and his Doctor of

Fine Arts in the field of graphic design at

Hacettepe University in Turkey. His works

have been honored six times, four of which

were international, and been exhibited in

various countries. He exhibited poster

designs at the Moscow Global Biennale of

Graphic Design Golden Bee, the Trnava

Poster Triennial and International Poster

Biennale in Warsaw, and the archives of

the Wilanow Poster Museum in Poland. He

usually works with digital techniques, but

has experience with traditional techniques.

He lectured part time at Uludag University,

and is presently a faculty member at Sakarya

University.

(2015) Ex libris for Alper Bilsel (CGD)

Selected for 11 th International Graphic

Competition for Exlibris Gliwice. Exhibited

from 10 June to 10 August 2016 at the

Municipal Public Library, Gliwice, Poland.

A lecturer and photographer, he is a special

person whose roots are in the past. He carries

you back to the past and tells you what bring

from there. Images which emphasize his

features are used in the design.

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(2011) Ex libris for Ali Osman Gundogan (CGD)

Selected for The Mail Art International Exhibition

“Ex Libris in the 21 st Century” and exhibited at the

National Museum of Unification, Alba, Romania.

Designed for Professor Ali Osman Gundogan,

a philosopher who has concentrated on Albert Camus.

The ex libris is devoted to Camus.

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(2015) Ex libris for Erkin Keskin (CGD)

My instructor in printmaking in the university

and a successful printmaker.

The wheel of the printing press and a bird

ready to fly away are connected with circular

lines to emphasize his artistic power.

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(2011) Ex libris for Emre Tan (CGD)

Selected for The Mail Art International Exhibition

“Ex Libris in the 21 st Century”

and exhibited at National Museum of

Unification, Alba, Romania.

For the recognized late artist, Emre Tan.

Just as inscriptions conveying something of the past,

his arduous burden is emphasized by

the background in a dark color.

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DEBORAH CHAPMAN

Some words from the artist

I was born in Argentina and, after reaching

adulthood, I emigrated to Québec, within

the country´s francophone province of

Canada. During my undergraduate studies

in plastic arts at the University of Québec in

Montreal (UQAM), engraving became my

prefered discipline, and the mezzotint, in

particular, became my passion. I discovered

the language of “the light, the chiaroscuro, a

journey towards interiority.”

I usually work with large formats of

mezzotint. This form of working corresponds

to my search of the space. When the occasion

arises, however, I work with smaller formats.

This choice of creating has given me the

possibility of dreaming and reflecting. The

time does not count for me. I compose with

mystery. It is my way of meditating so I build

an utopian and idealist world. My prints do

not develop multiple symbols in surrealist

and poetic movements. The beauty of things

must nourish our soul, and emotion.

It was by working in small formats that I

switched to the ex libris. This journey towards

the others was relatively easy, because I was

already working with the symbols. It was a

question of grasping the personality of the

authors in order to develop a true and fair,

original and sensitive image.

Deborah Chapman

Deborah Chapman

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Ex libris made in 2012, C7, limited edition of 30 copies.

My first ex libris I dedicate it to my sister Leonora Chapman,

an international journalist. I created it in a vertical position

to amplify the force of the flight of the bird, towards the

infinite, as a symbol of freedom that brings a dream...This ex

libris develops in a dark space towards the light, well ‐cut and

contrasted to highlight the flight in quest of freedom.

Ex libris made in 2012, C+C2+C3, limited

edition of 50 copies.

My second x libris is a commission for

the plastic artist Francine Beauvais.

The well ‐cut black head represents a

labyrinth where two birds interact on

utopian dreams and give us to choose an

innovative path ... The glasses symbolize

the passion for reading. Space is white and

open towards freedom.

25

IGOR BARANOV

Nannan Wang

Curator, art critic, collector

The art of Igor Baranov is based on the classic

and realistic traditions of Russian Academy

of Fine Arts (Repin Institute), which dates

back more than 250 years. The artist has

expressed great interest in worldwide art

history which enables him to be inspired by

the various sources of artistic heritage, but

also to find his own niche in the history of

modern art. Many of his graphic works are

linked with classic literature. The ex libris

has recently become an important part of his

oeuvre. The main theme of his creative work

is ancient cultures. Baranov does not try

to convey the style of ancestral artists, but

rather to generate his own pictorial language

that combines features of ancient art and

modern concepts.

Symbols and allegories appear frequently in

Baranov’s art. Spectators are guided through

his way of telling the story. His works are

created in distinguishable multiple complex

layers. The storyline simultaneously

accumulates to revealing stories in one flat

image. The artist is actively experimenting

with different textures and surfaces by

creating an own unique mystical space in

which the characters of his stories come

alive.

The flat images are replete with invented

ornaments that create a sophisticated

decorative composition. Baranov masters a

huge amount of detail in the interpretation

of characters and the space suitable. This is

always in harmony with the perception of

large forms. The artist successfully deploys

etching and aquatint and open in a single

operation. Various combinations of these

techniques produce a variety of interesting

effects and outcome.

Hand coloring is common and significant in

each of his works. All prints are colored with

little differences that make them unique.

That is not a usual practice in graphic prints.

Instead of watercolor, which artists usually

employ in this case, Igor uses gouache for

coloring. The reason is that gouache creates

a matte surface that adds the quality of a

jewelry image.

Igor Baranov

Baranov feels the connection of the graphic

arts and art books. A main part of his graphics

is not merely illustrating text, but injecting a

reinterpretation of classic literature. He is

a rare example of contemporary Russian

artistry with his own distinctive style

focused on the cultural heritage of the past

in a modern interpretation.

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IGOR BARANOV

Curriculum Vitae

Born in 1983 at St. Petersburg,

Russia, Baranov enrolled in the

art school attached to the St.

Petersburg Academy of Fine

Arts in 1995 and in 2001 was

admitted to the Department

of Graphics of this Academy

(Repin Institute). In 2007 he

graduated from the Academy

with the “Red Diploma” and

with Gold Medal “250 years

of Russian Academy of Fine

Arts” for his diploma project

“Kalevala”.

From 2008 to 2009 he was an

artist in residence at the art

centre “Salmela”, in Finland.

In 2010 he took part in the

gala auction “Contemporary

Russian Art” organized by State

Russian Museum and Christie’s

auction house. Since 2009 he has

taught art courses at the “Repin

Institute in Kymenlaakso”,

Finland (Kotka).

In 2015 he participated in the

creation of a limited edition

of the ancient Chinese treatise

“36 Stratagems”. One book

was acquired by the State

Hermitage Museum, St.

Petersburg. He has participated

in 50 group exhibitions in

Russia and abroad and more

than 20 personal exhibitions.

His works are held in print

collections in museums and

private collections throughout

the world.

(2016) For Heinz Decker (C3/col.)

LADY MACBETH

Shakespeare’s Lady Macbeth with bloody daggers

in her hands after killing King Duncan.

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(2016) For Frans Veen (C3/col.)

TREE

The form of composition recalls the Christian

background of Nevsky, a warrior, Russian tsar, and among the

first Russian saints. The mid ‐thirteenth century was a difficult

historical time for Russia, surrounded by enemies:

Tatar – Mongols from the East (right part of composition),

Teutonic knights from the West (left). Russia was caught

between two fires. The left and right parts of the composition

squeeze the central figure ‐Aleksandr Nevsky ‐who

take intelligent political and military

decisions to save his country.

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(2016) For Cees Lith (C3/col.)

ALEKSANDR NEVSKY

Based on painting from the

“Totems” series. People in harmony with nature.

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(2015) For Helga Becker ‐Bickerich (C3)

A MEMORY

A sad, but vivid memory

of a friend who has gone.

(2014) For Johann Peter Haas (C3)

RUSLAN AND LYUDMILA

For the same fairy tale by Aleksandr Pushkin.

Ruslan is pulling Chernomor’s beard.

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31

(2016) For Dr. Hans ‐Dieter Koehler (C3/col.)

ALCHEMIST

Middle ages alchemist in his laboratory, with

symbols of Alchemy in the background.

32

(2015) For Marietta Hagedorn (C3/col.)

SHIP OF FOOLS

Classic topic by Sebastian Brant telling us about

human vices and foolish wasting of time.

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(2014) For Cees Lith (C3/col.)

RUSLAN AND LYUDMILA

One of two bookplates dedicated to the fairy tale by Aleksandr Pushkin. Evil wizard kidnapping

beautiful Lyudmila from her bridegroom Ruslan. Lyudmila resists Chernomor.

34

(2016) For Margo Mulholland (C3/col.)

LIZZY

Thirteen rats, two mice, one black cat,

and a young girl are the family portrait of

Margo Mulholland.

35

APHORISTIC GRAPHICS OF

NINA KAZIMOVA

Dr. Semen Ivensky

Among the renowned graphic artists of

modern Russia figures the name of a St.

Petersburg native, Nina Kazimova – the

creator of unique aquatint etchings. Her

work is individual, ingenious, imbued

with passion. Colorful bright miniatures

reveal God’s gift to the artist. Her talent is

inspired by patriotic themes, authentic and

native, enriched with beauty, deep feeling

and artistic associations, symbolic, and

having a touch of national character. They

are patriotic without being excessive and

natural as in folk art. Her art, pure

in content and rich in feelings, may

in this sense be compared with other

outstanding artists such as Mavrina

and the Burmagins. Each miniature

is a song praising her beautiful

motherland. Of all the epochs of

Russian history, she has chosen to

focus on the stormy epoch of Peter

the Great and its associations with

mightiness, grandeur, and passion for

creation.

Her works are as austere as the

architectural style of that time, typical

in that period for demolition and

reconstruction of old traditions

of Russia. Their airiness and self‐

‐confidence originates from the depths

of Russian folk art. Nothing similar is

to be found among the work of other

Russian artists.

Opus 233 for Michail Seslavinsky

(C3+C5):2013

Depicting a conversation of a bibliophile with

the national poet of Russia, A. S. Pushkin.

Symbols of Russian experience

embodied in her work make the

fortunate owner of ex libris a witness

to the glory and heroism of people,

a participant in the triumphs and

victories of the glorious past of

Russia. In the work of Nina Kazimova

one does not find trivial, unnecessary

detail; everything is significant, and

thus each work is a small masterpiece

of aphoristic graphics.

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Nina Kazimova

37

I avoid mentioning other significant aspects

of Kazimova’s creativity. Her works have

become historical treasures held in major

museum collections of Russia. Her ex libris

designs elevate her to the ranks of the

major artists of our time. Her artistic life

commenced in Russia, matured on the banks

of the Neva River; her talent is constantly

developing, her fame grows. The author of

vivid graphic aphorisms who manages to

express the whole scale of human feelings

and emotions in her ex libris is known as the

“Queen of Aquatint”. God be with her.

NINA KAZIMOVA

Curriculum Vitae

In 1972 Nina Kazimova graduated from

the School of Architecture of the Leningrad

Building and Engineering Institute. Elected

a member of St. Petersburg Union of Artists

in 1991, she has participated in more than 320

exhibitions in Russia and abroad, of which

49 have been solo personal exhibitions.

Her main genres are easel and small ‐size

graphics, the hand ‐made book, and ex libris.

The creative work of Nina Kazimova is truly

national, her style is recognizable.

As a rule, her works are etchings on copper

in combination with aquatint. For her

masterly command of aquatint she has

come to be called the “Queen of Aquatint”

among artists and connoisseurs. In all she

has created 460 etchings, of which 280 are ex

libris. Kazimova has made seven hand ‐made

books in the “editions deluxe” category in

editions of from 3 to 50: “The Gardens of

my Soul” (1994), four books of engravings:

Maksimilian Voloshin, “Paris” (1997), A. S.

Pushkin, “Grand Banquet of Peter I” (2003),

Valentin Rasputin, “The Return of Tobolsk”

(2012), “Inter folio fructus” (2016); two

books are in a mixed technique (collage,

computer, calligraphy): N. V. Gogol, “Rome”

(2009), and Matsue Base, “Tercet/Haiku”

(2009).

Kazimova is a recognized master of ex

libris design. Among her works are those

for the libraries of the State Hermitage

Museum, the State Tretyakov Gallery, the

Russian Museum, the Russian State Library

(Moscow), the State Museum Peterhof,

and the State Museum “Tsarskoye Selo”.

Kazimova had designed ex libris for

politicians and celebrities: Prime Minister

D. Medvedev, Chairman of Mass Media

Committee M. Seslavinsky, Governor of

Sverdlovsk region E. Kyivashev, Governor

of Tomsk region S. Zhvachkin, the first

Governor of Omsk region L. Polezhaev, and

the ex ‐minister of Finance A. Kudrin.

Kazimova is constantly taking part in

exhibitions and graphics, ex libris, and book

design contests in Russia and abroad. Since

1994 she has participated in international

ex ‐libris exhibitions organized by FISAE.

Her art has gained extensive recognition

in Russia and abroad. She has been a

nominant, winner and diploma holder at

26 national and international contests and

exhibitions.

Hand ‐made books made by Kazimova can

be found in practically all leading museums

and libraries in Russia. For her book “Inter

folio fructus”, which consists of twenty

bookmarks, she was awarded a Diploma

of the Jury at the All ‐Russia Contest

“Image of book” (Moscow, 2016). This

book was dedicated to the 36th World Ex

libris Congress, held in Vologda in August

2016. For her great contribution to the

development of ex ‐libris design Kazimova

received First Prize of International Union

of Booklovers – the medal “Ivan Fedorov”

(2014). A selection of ex libris presented at

the II All ‐Russia graphics biennale “Ural‐

‐Grapho” was awarded a Diploma of Union

of Artists (Ekaterinburg, 2015). She was

awarded Albin Brunovsky Certificate of

Honour for outstanding contribution to

bookplate design (FISAE, 2016).

38

In 2015 the publishing house “Russian

Classics” published a catalogue recording

thirty years of creative work of the artist:

“Nina Kazimova. Graphics. Book. Ex libris.

Perfelice”. Kazimova takes an active part in

artistic and public life. Since 1988 she has

been a member of folk art graphics studio

“The Soviet Lubok” (Moscow). In 2013 she

was elected a member of Academy of Folks

Art of Russia. (Moscow). She is a member

of International Union of Booklovers

(Moscow) and a member of National Society

of Ex ‐libris and Graphic Lovers (Vologda).

Translated by Olga Antropova

Opus 237 for Ekaterina Mingaleva

(C3+C5):2013

Dedicated to a little girl

whose parents are balletomanes.

A ballerina in the role of the fairy Lilac

from the ballet “Sleeping Beauty”

gives presents to the little princess.

39

Opus 241 for the Russian State Library of Arts

(C3+C5):2104

Commemorating the anniversary

of William Shakespeare with a portrait

of the poet and playwright and

an extract from his play “Merchant of Venice”.

40

Opus 280 from the books of Y. F. Zakharopylo

(C3+C5):2016

For a medical doctor who

lives in Russia but has Greek ancestors.

The ancient doctor Asclepius is

depicted here with his daughter.

41

Opus 279 from the books of Daria Mingaleva

(C3+C5):2016

For a little girl to mark her first year birthday.

Her name is Daria; the lion is a symbol

of St. Daria, a Russian beauty depicted here.

42

Opus 278 from the books of Yuri Veselov

(C3+C5):2016

“The Polovets Dance” is an illustration

from the old Russian epic

“The Lay of Igor’s Campaign” with

an extract: “Since the falcon to

his nest is flying, why, let us entoil the

falconet by means of a fair maiden”.

43

Opus 277 from the books of Vladimir Utkin

(C3+C5):2016

For a collector from

Vologda portraying “Leda and the Swan”.

A humorous poem of the

owner is written here.

44

40 YEARS

Ex libris for Nina and Yuri Kazimov, Russia,

by Nina Kazimova, pp. 36/47.

Opus 285 (2017) C3C5, 14,5x12,7 cms.

Dedicated to their 40 th wedding

anniversary, depicting the

magical bird of Paradise, Sirin.

45

Opus 254 for Michael Sherstnov

(C3+C5):2015

For a surgeon.

A bookcase filled with books

and the symbol of the medical profession.

The doors of the bookcase are decorated

with nymphs from the

“Fontaine des Innocents” in Paris.

46

Opus 249 for The Burobin Library

(C3+C5):2015

For the famous Moscow

lawyer. In the center of composition there is

a shooting centaur – sagittarius is the

zodiac sign of their daughter.

A golden eagle and a deer are items

from Scythian burial sites.

47

ALEKSANDR ULYBIN

An Artist from Belarus

I was born 22 August 1970 in the small

town of Postavy, Vitebsk Region, a beautiful

small town in the northwest of the Republic

Belarus noted for blue lakes and beautiful

forests. A big thank you to my parents, who

took early notice of my desire to draw. Visits

to the famous museums and galleries of

Moscow, Leningrad (now St. Petersburg),

Minsk, Odessa, Dresden, Berlin, and Vilnius

influenced me greatly as a child. For ten

years my father subscribed to the magazine

“Young Artist”, which became an important

source of information about the history of art

and gave lessons in drawing and painting. In

1984 I enrolled at the Postavy Art School for

Children, where I graduated with honors in

1987. And in the same year I enrolled at the

Faculty of the Graphic Arts of the Vitebsk

State Pedagogical Institute (now Vitebsk

State University).

The history of the Vitebsk graphic arts

faculty dates back to the early twentieth

century, when after the revolution the

People’s Art College was established in

Vitebsk. It was founded and headed by Marc

Chagall and attracted to the teaching staff

Kazimir Malevich, El Lissitzky, and many

other famous artists and architects. At the

faculty of graphic arts I studied academic

drawing, watercolor and oil painting, basics

of decorative and applied art, artistic design

and design, the history of the Belorussian

and world art, pedagogy, and the psychology

of art. I met there the noted teacher and

graphic artist, member of the Belarusian

Union of Artists, Leonid Antimonov. In 1992 I

completed a thesis under the guidance of the

famous Belorussian watercolorist, Alexander

Karpan, in the form of a series of watercolors

entitled “Landscapes of the Pastavy District”.

After graduating, I engaged in teaching and

am actively engaged in drawing, watercolor,

oil painting, depicting genre scenes, still lifes

and landscapes. In 1994 I moved to the south of

Belarus, to Brest, rich in its artistic traditions.

My great desire to do prints was realized

in the year 2000. Thanks to the well ‐known

graphic designer, the master of etching and

aquatint, Gennady Vial, I experimented with

aquatint, designed my first bookplates, and

began to participate in international ex ‐libris

exhibitions. A great influence on me was the

Brest artist, Lev Alimov, whose works have

received awards at prestigious exhibitions of

bookplates and miniprints. The Belorussian

exlibris has a rich tradition, high technical

level; they are well ‐known abroad. Among

the masters of ex ‐libris design are Arlen

Kashkurevich, Nicholas Seleschuk, Yuriy

Yakovenko, Roman Sustov, Anna Tikhonova,

Ivan Rusachek, and Vladislav Kvartalny.

In 2008, I joined the Belarus Union of

Artists, the organization that brings together

professional artists of the Republic Belarus.

From 2000 to 2016 I designed about forty

bookplates. I like to design bookplates on a

specific theme. I enjoy gathering information,

studying literature, reading books. Often

ideas arise in the sketches I make for easel

paintings on canvas, watercolor paintings,

designs. In my graphic work I use etching

and aquatint, often zinc plates finalize

the “dry needle”. I also teach the basics of

graphic art for students in the Department

of Fine Arts at the Telmovskaya Children

Art School. In the classroom we design

bookplates using the technique of engraving,

linocut, or engraving on plastic. Working

with children and teenagers inspires me, as

does the popularity of the art of the bookplate

of among young people.

Aleksandr Ulybin

48

(2015) Opus 38 : S. Sotnikov : C3C4C5

Ex Hereditate

Sergey Sotnikov, the sculptor and painter

from Vitebsk, has created

an interesting sculpture, the image

of the moon. This image is included

in the composition of the bookplate.

49

PRICES ANDPRAISES

Aleksandr Ulybin

Aleksandr Ulybin has participated in more

than fifty international exhibitions of ex

libris and miniprints: in 2002, 2ª Muestra

International de Miniprint, Argentina,

award; in 2007, International Ex ‐Libris

Competition on the theme “Bread – Cultural

Heritage”, Serbia, Honorable Mention; in

2008, International Ex ‐Libris Competition

“Gdansk Lions”, Poland, Honorable

Mention; in 2009, in International Ex ‐Libris

Competition “Duch Gdanskej Arhitektury,

Poland, II Prix; in 2010, 4 th International Ex

Libris and Small Graphic Forms Competition

“Solidarity of Nations”, Poland, III award;

in 2013, IX Miedzynarodow Konkurs

Ekslibrisów Kosciuszkowskich, Poland,

Noticed, and The XVIII Vilnius International

Ex ‐Libris Biennial, Lithuania, Diploma; in

2014, International Ex ‐Libris Competition,

Bulgaria, Certificates of Honour; in 2015,

Mostra Concorso Ex Libris EXPO2015,

Nutrire il Pianeta, Energia per la Vita, Italy,

Noticed; International Ex Libris and Story

Competition “Il Bosco Stregato”, Italy, II

award; International Exlibris Competition

“Mykolas Kleofas Oginskis ‐250”, Lithuania,

Gratitude; The 1 st International Exhibition of

Bookplates, Serbia, Certificates of Honour;

and in 2016, in the XII International Exlibris

Competition “Ex Vino – Ex Veritas”,

Bulgaria, Award of “Lyuben Karavelov”.

(2011) Opus 25 : Sevastjan Ira : C3C5

Pear and Moon.

For the library

of a friend. The moon was

lost in the branches of a tree

and large fruit lying on the ground.

50

(2006) Opus 15 : Gdansk Lions

(Fundacia Wspolnota Gdanska)

: C3C5

Two Lions

Devoted to the main symbol of the

city of Gdańsk the Lion.

Two figures have one royal crown.

(2015) Opus 39 : Commune di Bassiano : C3C4C5

In Memory Aldo Manuzio, F. Skaryna and M. Grek

This work is dedicated to the memory of the great Italian Humanist Aldo Manuzio. While studying

literature, I discovered an interesting connection between great people. Francis Skaryna, a great

Belarusian enlightener, and Maxim the Greek, who influenced the development of Orthodoxy in Russia,

they knew the writings of Aldo Manuzio.

51

(2015) Opus 33 : Biblioteca Braidense : C3C4C5

Energy for life

EXPO 2015 on the theme of food.

In this work I expressed a simple Christian

symbol: “Our daily Bread...”.

(2014) Opus 32 : Oleg Tolochko : C3C4C5

Secrets of the Sea

My friend loves the Baltic sea,

so the work us devoted to a marine theme,

where the main character is a female figure.

52

(2015) Opus 37 : A. Duhovnikov : C3C4C5

Hereditate Vitebsk

For the artist and Director of the center

for contemporary art of the city of Vitebsk,

Andrew Duhovnikov. In this work

you can see the “Black Square” of

Malevich and flying figures of Chagall.

53

54

(2002) Opus 5 : Aleksandr M. : C3C4C5

Trinity

Inspired by the composition

of the Trinity by Andrei Rublev.

This Trinity should reflect the

irrationality of the new Millennium.

(2015) Opus 35 : Solstizio d’Estate Onlus :

C3C4C5

Dream

The theme of this work relates

to the theme of the contest:

“Dog’s best friend”. The dog is a

psychologist and therapist for a

person that you can trust

with your secrets.

(2015) Opus 34 : Expo 2015, Milano : C3C4C5

The expectation

Here I’ve depicted three pears,

which have different solution. Gothic architecture like the Cathedral in Milan. Then

the fruit, which is similar to the scheme of this new technology. And pear ‐cage of

forbidden fruit inside. Something like that …

55

NAZAN SÖNMEZ

A Turkish Bookplate Designer

Born at Karabuk, Turkey, in 1956, I have been

drawing since childhood. When my friends

were playing with dolls, I found myself with

paper and pen. When I passed the talent

exam of the Fine Arts Academy in Istanbul,

this started my professional journey at the

Neşet Günal atelier, the painting department

of the Academy, in 1975.

During the first five years of the Academy,

we took such classes as the world history

of art, Turkish history of art, several art

techniques, and lots of nude and figure

studies. I also took elective classes in the art

of carpet weaving. I married my husband

in the first years of Academy, whom I met

in our school. When I finished school, I

was the mother of a very sweet daughter.

Then I had another. My elder daughter

studied advertising. My second daughter

graduated from the same university as I and

my husband had; she became a tattoo artist.

When I was raising my daughters, I had to

interrupt my work in the atelier. However,

my work on figures continued. I had my

paper and pen with me all the time. When I

returned to my work with great enthusiasm,

Ayşen Erte, my friend from the university,

owned a Gravure atelier. She invited me to

join her in 2001.

The very nature of Gravure obliged me

to fit in a small mould. I understood

that engraving meant to wander in

large spaces by entering through a

small door. I discovered the limitless

technical possibilities of engraving.

Engraving can never done in a hurry.

It requires slow deliberate work.

Color is important to me. I believe

that I can express my enthusiasm

and excitement with colors. I choose

my subjects from nature, of which

I am a part, and also from my

interest in history, archeology, and

mythology.

(2008) Opus 1 : Selahattin Sönmez (P1)

Anatolia

For my beloved husband, Selahattin Sönmez, I chose the

historical and archeological wealth of Turkey for the past

thousand years as my subject. Cybele, the biggest godmother

of Anatolia, represents fertility and richness. The range and

elegancy of earthenware pots and pans inspire us.

I take advantages of the beauty of

the nature, which means the beauty

that the creator offers us. The

archeological and historical wealth

of Turkey extends back thousands

of years. I feel fortunate that there

is so much wealth to draw upon.

56

Nazan Sönmez

57

Ex libris came into my life in 2008. With the

help of ex libris, broader worlds entered our

smaller moulds.

Thanks to ex libris, our worlds widened. We

took part in international events. We visited

many beautiful countries thanks to the

competitions and conferences. We developed

close connections with different cultures and

made friendships. We met ex ‐libris designers

and collectors. Thanks to exchanges, we

started our own collections. Our art was

exhibited outside Turkey, in such countries

as Finland, Argentina, Bulgaria, Greece,

China, Italy, Spain, Russia, India, Ukraine,

and Germany. We were mentioned in

catalogues. I had a personal exhibition in

Germany. These were great honours for me.

In 2013 one of my works received the excellent

prize of mini prints in Shanghai, China. With

the help of a dear friend, Christos Giannicos,

a collector I met in China, I made large

galvanized engravings on the themes of Iliad,

Odysseus and Caryatid women. I traveled

to Italy for the exhibition of my work. These

all were motivating experiences for me. I

continued to engrave in my own atelier and

the Ayşe Erte atelier. I love group work.

We organized several combined exhibitions

with colleagues. Working

together had advantages.

The interaction and

communication helped

all of us progress. It

became a tradition this

beautiful group to open

an exhibition every

year in Turkey outside

Istanbul (in Ankara,

Antalya, Adana, Arhavi,

İzmir, Ordu, Kayseri,

Kastamonu, Mardin and

Bodrum).

Nazan Sönmez

(2015) Opus 11 : Sena Sönmez (C3C5)

Taurus

For my daughter Sena, inspired by archeological finds

relating to Taurus, her zodiac sign.

To glamorise my daughter with flowers

I drew upon Turkish designs.

58

(2013) Opus 7 : Selahattin Sönmez (C3C5)

Istanbul

Among the best archtectural features of Istanbul are the

mosques, whose minarets rise up to the sky elegantly.

The atriums of the mosques become cheerful as people

feed the crowds of pigeons. This ex libris is for

my husband Selahattin Sönmez.

59

60

(2008) Opus 2 : Altan Yilmaz (C3C5)

Whirling Dervishes (Mevlevis)

A mystical subject form my brother Altan Yilmaz,

who is interested in Sufi music and plays the Ney.

Being a whirling dervişh means coming close to God by getting Among the

best architectural away from worldly possessions. To reach God means to

balance the difficulties of life, not being spoiled by wealth, not shrinking into

poverty. These dervishes lose themselves by whirling, accompanied by the

Sufi music, as they try to reach God.

(2014) Opus 9 : Biblioteca Bodio Lomnago (C3C5)

Shakespeare

Made for Shakespeare’s 450th anniversay

in Italy. I wanted to convey how his love for music

and theatre enveloped him.

61

62

(2015) Opus 12 : Canan Bilge (C3C5)

Ayşe

An ex libris for my friend Canan Bilge,

inspired by my cat Ayşe.

(2015) Opus 13 : Nazan Sönmez (C3C5)

Neyzen Tevfik and Ciko

Neyzen means a person who plays the Ney.

Neyzen Tevfik is among the important

characters of the 20th century, known for his Ney playing

and satirical writings and philosophy. For him,

everything is “nothing”. His best friends were dogs,

better than humans. I made this ex libris for

myself and wanted my dog Çiko

to meet Neyzen Tevfik.

63

64

(2015) Opus 14 : Gülden Günaydin (C3C5)

Neyzen Tevfik

Neysen Tevfik’s philosophy stresses trueness,

honesty and nothingness.

I harmonised my friend Gülden Günaydın’s

one of a kind character with Neyzen Tevfik.

(2015) Opus 16 : Orhan Kemal (C3C5)

Serra and Blind Cats

For my daugter Serra do Serra,

who adopted three blind street cats

and lives with them happily.

65

ELENA FELICIA SELEJAN

BIOGRAPHY

Born in Romania, in the west of the country,

in Resita (on 28 April 1953), a particularly

beautiful area surrounded by hills, I come

from a family that had nothing to do with

art, and, therefore, was not encouraged

to pursue this path. After finishing high

school, I tried enrolling at several Faculties

of Art, but seeing that there were only 6 or

7 places available per department and 20 to

25 students fighting over one, it felt like a

futile endeavor. After several failed attempts,

I lost all hope, although I kept drawing,

painting and having my works displayed in

exhibitions until 1989, when the Revolution

gave me the chance to fulfill my dream. A

Faculty of Arts was founded in Timisoara

from which I graduated in 1996, being part

of the first class. I consider this the best time

of my life. I had outstanding, dedicated

teachers (Suzana Fantanariu and Constantin

Catargiu).

After graduation, I was first preoccupied

with large easel graphics. In parallel, I was

preoccupied with engraving, especially

linocuts. This is also due to the fact that I

am a member of a group of graduates from

the Faculty of Arts in Timisoara that brings

together artists from the country and from

abroad, called “Xiloengraving stylistic

matrix”, led by Prof. Suzana Fantanariu,

PhD. This year we are celebrating our tenth

anniversary, a period during which the

members have had exhibitions in Mexico,

Austria, and Romania).

I have been participating with small and

large linocuts for some years in competitions

at home and abroad (Toulouse, Douro, Aiud,

Ploiesti, Parana, Laguna Paiva, Monterry,

Bucharest, Targoviste, Buzau, Braila). I

approached this small form of expression

less than 5 years ago. I like the challenge.

Spontaneously, I began designing ex libris.

My love for books, dear characters from

my teenage years, authors whom I have

retained in passive memory, and new topics

reactivated my desire to express my point

of view in “hard copies”, i. e., in ex libris.

I think that ex libris represent my form of

essence. I like to extract the essential from

the complexity of data of some forms, to

highlight what is notable in a concise manner,

in order for the idea to be able to penetrate

the visual. Engraving, as any technique

whose language is enshrined, gives me the

opportunity to express myself, it rigorously

orders the stages of a work, and frees my

ideas in its own way…

What I like most is the quest, how to

assimilate data that may enter into an

equation. The spiritualization of seemingly

trivial forms put into a new context leads to

new meanings and new feelings. Over the

past five years, I participated in numerous

competitions having ex libris as the point of

focus: Italy (Bodio ‐Lomnago, Bosia), Spain

(Tarragona), Bulgaria (Ruse, Varna), Serbia

(Apatin, Vojvodina, Subotica), Belarus (Brest),

Lithuania (Vilnius), Poland (Gliwice, Ostrow‐

‐Wielopolska, Slawno) China (Shanghai,

Guangzhou), Russia (Vologda).

Each work involves a little story through

which I seek some truth behind the originating

particulars until I reach a synthesis of the

form. I like to deduce the synthesis of a form

from selected specific functionalities that

help me obtain a multifaceted form.

Elena Felicia Senejan

66

Tarragona, International Ex Libris Competition. I participated with

the theme “Don Quixote” (15x12 cm, 2016, linocut), dedicated to

Miguel de Cervantes. In the illusory world of letters arranged like

an opaque curtain there is Don Quixote in armor with his sword

and shield. Above his head, sits the windmill.

67

ELENA FELICIA SELEJAN

ENGRAVING – A NATURAL ACT OF CREATION

Suzana Fântarariu, Phd.

Visual Artist

Engraving is a genuine instrument of the

highest expressions of human sensibility – a

genre of art that attracts new generations of

artists. It revises its own coordinates from

one generation to another. The rough and

decisive qualities of engraving, born from

engraving linoleum plate, has captivated

many graphic artists from throughout Europe

in an effort to synchronize this process with

the confusing demands of modern times.

Elena Selejan from Romania (Timisoara)

joins this effort with professionalism and

consistency.

Selejan chose linocut with its dimensional,

stylistic and experimental variety (from

two ‐dimensional to three ‐dimensional) not

because this would be the most representative

genre of engraving, but because the space of

the plastic representation is the way in which

the author’s creative subjectivity tension

faithfully operates. The level on which

this effort was applied was in an identity

relationship with spiritual structure, creed,

and vocation.

The laborious work, the exploration and

the research into a material capable at any

time of filling the gap removed by incision

was the secret “key” to this approach. The

“in ‐depth” engraving of the artist involves

categorical thinking, formulation skills,

power of systematization, perfect mastery

of ways of expression, while the “shaping”

of hard material is based on the ideational

message that pulsates the act of engraving as

a natural act of creation. The manual incision

on the linoleum with clarity, with brevity of

the graphic discourse, involves a refinement

of detail in favor of keeping the ensemble,

and Elena Felicia Selejan is the demanding

and sensitive engraver who, at the same time,

preserves the harmony of communicating

signs. The telluric space created by the

artist is a layer that can be controlled by the

psycho ‐physical relation of perception of

elements of internal rhythm.

Elena Selejan’s achromatic linocuts are

designed in the conflict area of the bright

white and black as gravitational tension. The

white, unfairly perceived in its secondary

role, is actually the infinite devoid of gravity

and dimension and constitutes the “legality”

of the plastic approach in tackling the

graphic sign with its transforming energies.

Her continual participation in national

and international exhibitions of engraving

are significant, Elena Selejan also is a

founding member of the international project

“Xiloengraving stylistic matrix” XMS, an

elite group formed in Timisoara in 2007.

Elena Felicia Selejan’s engraving generally

tends towards concentration, and the sign

tends to become writing, an abstract one,

enriching the always alive and innovative

plastic language.

68

Elena Felicia Selejan

69

70

“Cyrillic Writing”. I submitted the work to the Competition at Ruse,

Bulgaria, with the theme “Ex Libris Ex History”. Writing has a rich

history, so I chose Cyrillic writing as a reinforcement of a window

that penetrates beyond time. I dedicated this to the County Library

of Timisoara, Romania (13x13 cm, 2012, linocut).

At the Competition in Ruse, Bulgaria, on the theme

“Ex vino Ex veritas”, the mouth of the cup ends in

crenellations specific to old castles; the cup includes a

small detail, a tap used to check the wine over time. I

dedicated this work to a good friend who is a remarkable

wine taster, Dorel (13x10 cm, 2013, linocut).

71

72

In “Singing Glass” (15x10 cm, 2013, linocut), this ex libris was

made for the competition in Vojvodina, Serbia, organized by the

Cultural Centre Art Workshop Sremski Karlovic, and whose theme

was “Wine and Grapes”, three symbols – the glass, the leaf and the

musical instrument – are assembled in a compact form.

The Lions Club Colegno Certosa Reale organized an ex libris

competition, entitled “Rice”. In a dynamic square, I placed two rice

grower symbols, the renowned Chinese sandal, and a rice plant

on bright green, titled “Rice dedicated to Lions Club International

(13x10 cm, 201, linocut).

73

74

VII “Contratala”, International Biennial of ex libris

Tarragona, Spain. Free theme “Obfuscating” dedicated my

husband Victor Andries (14X12 cm, 2015, linocut).

At the competition with the theme “Ex Amore” (13x11 cm, 2013,

linocut), at Ruse, Bulgaria, dedicated to Lyuben Karavelov Regional

Library, I made two overlapping arcs, representing a woman and a man,

complementary forms, and the circle embraced by the two, as a whole.

75

JOANNA BUDZYNSKA ´ ‐SYCZ

Some words about myself …

One day I learned that someone said:

writing about paintings or graphics is like

dancing about literature. Nothing can be

said clearly. And perhaps this is so. What

is art if art has no secret? We love art

because art is a great mystery, not a logical

deduction or mathematic formula. Why do

I paint, draw, and make and print linocuts?

Perhaps the simple answer is: because this

is something that I can do best or, more

pessimistically, I have no better skills. Is the

answer important?

Human weaknesses are of great interest

to me. I am interested in the history of my

country, Poland; mythologies or stories

from the Bible which are embedded in our

European soul. Perhaps one of my works

seems to be cruel, another perverse and

sensual, another full of reflection: Is not

that the life of many sinners? From border

to border? A peaceful state of mind is a

blessing enjoyed by few. I am not a feminist

in the mass media version. But I feel strongly

that I must fight for women, especially

creative women who pain, sculpt, and

so on. Great art is impossible when we

must be a perfect kitchen maid, cleaner,

wife, or lover. The woman engaged in art

must be in art about 100%. If only 80%

or even 40% is all that can be managed,

world does not end when some woman

has sacrificed everything because of art.

That is why I pay tribute to Clarissa

Pinkola Estes (a Jung psychologist and

cantadora). Her book Running with the

Wolves made a differences in my way of

thinking and creating.

Inspiration to create is multifarious. I love

the melancholic voice of Nick Cave, the

cynical blues of Tom Waits. I like to read a

really sensual writer, Anais Nin, the films

of David Lynch, the dark paintings of

Caravaggio, the paintings of truly happy

Marc Chagall with all his phantasies of

big child … The great change in my art

and life was generated by my little son. It

may sound banal, but becoming a mother

always changes everything.

BUTTERFLY LEG

Ex libris for Bercht Angerhofer.

Hermaphrodite symbolized

here as an ideal being.

Opus118, 2015, linocut, 105x75mm.

The ex libris as a small form of expression,

especially in linocut, imposed discipline

on me. From childhood I have had a

tendency to paint too much, draw too

much, but linocut is different. I must say

76

SMALL BOY

This work was dedicated to me.

The theme is a world

of a small boy.

Opus 143, 2017, etching, 100x80 mm.

Joanna Budzynska ‐Sycz with her son Stanisław. ´

77

SALOME

Ex libris for Michal Wójcik.

Salome, a femme fatale, is in madness dance.

In the background is a man, deep in sorrow,

defeated. He hides his face in his hands.

Opus 131, 2016, linocut, 100x50mm.

THE FIRST

Ex libris dedicated to my son Stanislaw

Sycz shows tiny boy and happy birds, based on

Chagall paintings which I like very much.


clearly and concisely what I want to say.

My first ex libris dates from 2010, when I

finished my studies at the Academy of Fine

Art in Gdańsk. Initially, I etched ex libris,

and more recently I in linocut. I dedicated

ex libris to collectors, friends, my family and

my son. In recent works I included flowers

and plants. I do not care if someone says

I create a ‘nice’ picture. If we express real

emotions and feelings in our work, art has a

real deep sense and is not dead art.

I want to thank symbolically Jerzy Kremp,

an expressive painter from Malbork who

died in 2014; he awakened my passion and

creativity, I was his student many years

before my studies at the Academy and

recall how I really loved how he taught.

Thanks also to Michał Wójcik, because he

in an altruistic way shared his knowledge

about grapchic techniques and gave

excellent critiques. And I thank my son

Stanisław because he IS, and that is a reason

to create, to be strong, and to start over

again and again …

Joanna Budzynska ‐Sycz

78

FOOL MOON

My ex libris.

Pregnant woman filled with the butterfly,

new life, a man detached and absent.


MOTHER FEEDING

For myself.

Mother feeding on her knees.

Uncomfortable position versus love.


GARDEN UTOPIA

For Anna Rafal, psychologist.

Unicorn and small child, both symbols of Innocence.

I put these beings into fantasy land but dangerous

too, a jungle full of flowers and cat eyes.


79

MIDDAY LADY

Ex libris for Leszek Saminski.

There is a Slavic legend that midday in the hot

summer, a man working in the fields. She adored

a man and put a spell on them.


A NEPHEW

Dedicated to my sister,

Pola Budzynska. A beautiful lady reading

a book to tiny boy, joyful, safety.


MARY! THE FISH!

Ex libris for Malgorzata Budzinskkiej,

my mother. Mother, the safe ship.


80

GARDEN OF UTOPIA

Ex libris for Krystyna Staniewicz,

an eye ‐doctor. Beautiful lady has an

eye on her kenes like a

little child, who needs to be carried.

Opus 123, 2016, linocut,100x65mm.

81

82

NEPTUNO DREAMS

For Rajmund Aszkowski.

Siren like a real femme fatale, woman

who can destroy even the God of the sea.


THE SHEEP

For Wladislaw Owczary. The theme of this work

is similar to surname of the owner.


BAD TIMES

For Rajmund Aszkowski.

In the background we see a war,

on the front mother ‐wolf carries

a child begging for peace.

Opus 111, 2015, linocut, circle 70mm.

GARDEN OF UTOPIA

For Leon Sylwester Staniewicz.

The couple in love hug, a child,

symbols of Arcady, land of

everlasting happiness.


83

BETÜL URAS

Words of an artist from Turkey

Istanbul is my native city. l was born

there on 1 July 1947. My childhood in

Istanbul experienced happy and sad days.

I graduated from Şişli College in 1964. In

order to devote myself to children, I became

a teacher. Happily married, I have two sons

who are the joy of my life. My daughter

in law and my three grandchildren are the

apple of my eye.

When I was the president of Cagaloglu

Lioness club in 1989 ‐1990. I first heard

about ex libris and became acquainted with

Antonio Grimaldi, a well ‐known Italian ex

libris designer. This art really thrilled me.

Through Grimaldi I came to know several

other Italian ex libris artists, among them

Remo Palmirani and Ettore Antonini. After

Antonio Grimaldi designed an ex libris for

Music of Nature (2016)

C3C4C5

For my son, Onur Uras, who lives far away from me.

I emphasize his passion for music, freedom and traveling.

Prince Island where that he has spent his summers in is childhood home to seagulls.

So the seagull is a reference to his childhood.

84

Betül Uras

85

me, I started to collect ex libris. In 1998 with

some Lioness friends I established an ex

libris association in Istanbul, the “Istanbul

Academy of Exlibris Association”, and tried

to expand ex libris design and collecting

in Turkey by means of such national and

international competitions as “Istanbul

2000” and “Nazım Hikmet 1902 ‐2002”.

These exhibitions traveled to various cities in

Italy: Sonchino, Alberga and Pescara.

I worked as a designer in my textile company

where we printed designs on cotton and

tricot. All these factors directed me towards

ex libris. In 2010 I came to know Ayşen Erte,

an eminent etcher in Turkey, and began to

work in her studio.

To design on a metal plate, using all the

printing techniques while thinking about

the characteristics of a person you know,

excites me immensely. I have participated

in eleven group shows. Works exhibited

in the Işık University for the 1st National

Exlibris Congress were also exhibited in

Varna, Bulgaria. I attended the 35 th FISAE

Congress (2014) in Tarragona, Spain. On the

other hand, my works were found worthy

of exhibition in the XXXVI FISAE Congress

at Vologda, Russia, and the Mini Print

International de Parana, 2016 Exhibition of

Bookplates Subotica, Serbia (cataloged). I

am a member of the Association of Istanbul

Exlibris Academy and Istanbul Exlibris

Association.

Bertül Uras

The Mediterranean (2013)

C3C4C5 + CRD

For my husband, Hasan Uras, who

likes Mediterranean countries and

the sea. I tried to express my feelings

about him, how special he is for me.

This is represented by a ionic column.

86

Touch of the Orchid (2015)

C3C4C5 + col.

For my beloved daughter in law, Celine Uras.

I tried to express how unique she is

with an orchid, and with letter C,

which is the first letter of her name.

87

88

Against the Evil Eye (2014)

C3C4C5 + col.

For my beloved granddaughter, Leyla Sophie. To protect

her from the evil eye, I designed this ex libris.

She is my squirrel, so I placed a squirrel in the image.

I hope that the stars and the moon will lighten her way.

The Fish (2010)

C3C5 + col.

Ex libris designed for me.

For the Mediterranean Congress held in Bodrum.

All nations that border the Mediterranean Sea are like the hot

sun and are linked together like a fish bone.

89

YAROSLAV MAKAROV

Some words about the young artist

Sergey Ptukhin

President (2014 ‐2016) of FISAE

President of All ‐Russian Ex ‐libris Congresses

Bookplates have been my major love in art

for almost forty years. The best examples

of this kind of art represent not only an

abstract picture, but a «figurative aphorism»,

reflecting the preferences for books or life‐

‐interests of the person for whom this ex‐

‐libris is designed. The subject ‐matter of

a bookplate, combined with the artistic

quality of the image, entice me to examine

closely these small, often black ‐and ‐white,

images and comprehend something about

the person whose name is inscribed on the

work. This combination of art and someone’s

everyday life, in my view, evokes the desire

to commission, collect, and enjoy these small

graphic stories ‐mysteries!

This is why I enjoy bookplates designed by

the Vologda graphic artist Yaroslav Makarov.

The majority of his works are consistent

with my personal criteria concerning the

main aspects of the art of the ex libris.

Moreover, virtually all his bookplates are

infused with gentle and kind humour,

Yaroslav Makarov

90

From books of Gennady Kolesov,

a locomotive driver.

Ex libris President of FISAE Sergey Ptukhin,

in office from 2014 to 2016, collector, and museum

worker. Sergey Fedorovich carryies the flag

of ex ‐libris while walking around the Earth.

Ex libris Panoramy Raclawickiej we Wroclawiu,

designed for a design competition in Wrocław,

Poland. Dedicated to Tadeusz Kościuszko,

a military leader of the Polish ‐Lithuanian

Commonwealth and in the American Revolution.

91

reflected in his ex libris created for me.

Makarov is a young artist. Born in Leningrad

(now St. Petersburg) on 12 May 1982, in

2005 he graduated from the Cherepovets

State University. Yaroslav studied at the

Department of Graphic Art, where he was

taught by Dmitry Vladimirovich Medvedev,

among the best graphic and ex libris artists

of the Vologda region in the late twentieth

century. This passion for ex libris passed

from teacher to student. Yaroslav began to

design bookplates in 2004, when he was a

university student. Nowadays he designs ex

libris and undertakes easel graphics. Initially,

Makarov created bookplates by making an

original drawing followed by reproduction

copying techniques. At present he uses

mainly linocut techniques and engraving on

plastic. Recently he, as a graphic artist, has

made considerable progress in developing

his talent. In my opinion, this has happened

because Yaroslav directed his artistic

work towards designing bookplates and

simultaneously has participated in various ex

libris exhibitions and contests.

Over the last three years he has taken part

in twelve Russian and international ex libris

exhibitions and contests in Russia, Belarus,

Bulgaria, China, and Poland. He personally

participated in the work of the 4 th and 5 th

All ‐Russian ex libris congresses in Vologda

during 2013 and 2015, and in the work and

expositions of the XXXVI FISAE International

Congress in Vologda (2016). Yaroslav’s works

are held in the museum collections of Belarus

(Brest), Bulgaria (Varna and Russe), China

(Guangzhou), Lithuania (Kaunas), Poland

(Gliwice and Ostrόw Wielkopolski), Russia

(Vologda, Yelabuga, Ufa), and in private

collections in Russia and several foreign

countries.

Yaroslav Makarov lives in the settlement

of Malechkino (Vologda Region, near

Cherepovets).

Tanyushka’s book. Tanya

Abrosimova is my cousin’s

daughter. In this ex ‐libris the

girl is painting our black‐

‐and ‐white world in rainbow

colours.

__________

All the captions are in the

artist's own words

92

Book of Sergey Pevtsov. A collector

from Cherepovets (Russia), he is

interested in local lore, photography,

painting, graphic art. The ex ‐libris

portrays an amusing situation from

the photographer’s life.

Ex libris V. Chistyakov. Vladimir Chistyakov

is a farmer from Malechkino (Russia). In the

ex ‐libris – a paraphrase of the subject

«The Rape of Europa».

Book of Egor (Makarov). My son, who in this

children’s ex ‐libris is flying by a wing swing

towards the Sun (to his bright future).

93

Ex vino – Ex veritas Lyuben Karavelov Regional

Library. Designed for a design competition in

Russe (Bulgaria). One can see two masks – a

gloomy and a merry one, the open space between

them forms a silhouette of a bottle.

Ex libris Yana Pronina in memory of Marina

Tsvetaeva. Designed for my friend, Yana Pronina,

on the subject of Marina Tsvetaeva, a great poet

of the 20 th century, for the international bookplate

design competition in Yelabuga (Tatarstan). The

monument to Marina Tsvetaeva in Moscow by the

sculptor Nina Matveeva and a rowan ‐tree – the

poetess’s symbol.

94

Ex libris S. Gasiunas, a collector

from St. Petersburg who collects

bookplates depicting devils. Here

a devil emerges from a snuff ‐box

with bookplate in hand.

Ex libris Shen Xianghong. Created for a Chinese

artist in memory of our meeting at the International

congress FISAE in Vologda. A Russian bear gives a

book to a Chinese dragon against the background

of a Vologda church. The sun, a Chinese symbol,

shines upon Vologda lace.

95

TAMÁS HAVASI

Hungarian graphic artist

Born in 1972 at Tiszalök in Hungary, I have

lived in Nyíregyháza for 23 years, where

I began my teaching career. Now I live in

Nyírbátor, but still work in Nyíregyháza. I am

an associate professor at the Visual Culture

Institute of the University of Nyíregyháza. I

graduated from the College of Nyíregyháza,

training to become an art and biology

teacher (1995). In 1998 I received another

degree in environmental education. I also

have a degree in visual culture, design,

and multimedia from the Moholy ‐Nagy

University of Applied Arts. And I have

studied at the Eötvös Loránd University,

where I completed my studies with a PhD

absolutory, without a degree.

My first job was as a graphic designer at

a Swiss ‐Hungarian watch factory. Later I

taught drawing at a secondary school. Then

I started to make and exhibit graphics again.

In 1996 I joined the College of Nyíregyháza

(today it is a university) as an assistant,

eventually becoming an instructor and a

lecturer. Since 2006 I have been an associate

professor. From 2009 to 2012 I was deputy

director of the Visual Culture Institute of the

College of Nyíregyháza. I am a member of

several creative art associations, such as the

National Association of Hungarian Creative

Artists, the Association of Hungarian Fine

and Applied Artists, and the “Kisgrafika

Barátok Köre Egyesülete” (Association of

Small Graphic Circle of Friends).

During the past 22 years, my works have been

included in more than 350 exhibitions and

galleries in Hungary and abroad, including

New York, Boston, Buenos Aires, Tarragona,

Taipei, Kanagawa, Shanghai, and Beijing.

My work (ex libris and another graphics)

is regularly exhibited at FISAE Congresses.

I have received various awards (in Buenos

Tamas Havasi

Aires, third prize; Nyírbátor, first prize, or

Honorable Mention in Kiev, Wroclaw, Baia

Mare, Ruse). I especially like designing ex

libris. Miniature prints encourage technical

experimentation, and it is important to pay

attention to the client’s requirements and

needs. I love to illustrate, but my works are

routinely inspired by various technical media

imagery. I study optical, electronic, and

digital structures, as well as the visualization

of motion, nature (animals, plants, flowers),

and the human form, human culture, history

and mythology. I use various adaptations of

these themes and related terms (bird, flying,

freedom). I process these images by way

of traditional graphic techniques (linocut,

etching, aquatint), fashioning a personal

and “new” narrative. I use the computer for

planning and for the final creation.

In addition to working with fine art and

teaching art (graphics, media, communication,

teaching methods in art education), I often

deal with animation, film, graphic design and

write critiques of modern art and education.

Tamás Havasi

96

GALILEO

For Zsuzsa Makrai,

retired teacher and artist.

2008, X3, 14x6,8cm.

HIGH JUMP

For my son,

Márton Havasi.

2012, X3, 12x7,2cm.

97

FREEDOM

For my sister,

Dóra Havasi, graphic

artist, restorer, and

art teacher.

2010, CGD, 9,5x9cm.

SPIRIT OF THE READER

For the Municipal Public Library,

Gliwice, Poland; made for

a competition.

2010, CGD, 8cm.

98

HURDLING

For my son,

Márton Havasi.

2012, X3, 7,7x12,1cm.

LONG ‐JUMP

For myself with

my favourite theme.

2012, X3, 7x12cm.

99

NURTEN ERDOGAN

Every work is a new challenge for me!

^

I was born in Beydağ, a lovely Anatolian

town in İzmir, Turkey, in 1968. Anatolia had

hosted many civilizations. Kings and queens

have reigned in the Aegean part of Anatolia

throughout history. The region is full of

beatiful examples of art produced by these

civilizations. Being born in such a region, it is

difficult not to be an artist. I encountered ex

libris by chance. A friend had an exhibition.

I planned to visit, but had marked the

wrong day on my calendar. When I arrived,

the exibition had ended. Preparations for

a new exhibition were in progress of Ayse

Anil’s engravings and ex libris. I had not

met Ayse Anil before and was ignorant of

N

u

r

t

e

n

E

r

d

o

ǧ

a

n

ex libris. Ayse, my lovely friend, explained

everything. Every word she used increased

my curiosity to learn more about ex libris

and engravings. I witnessed her passion

for ex libris and her discipline. It was the

beginning of our friendship.

I have been painting for years. I graduated

from the Dokuz Eylul University, Buca

Faculty of Education, Deptartment of

Painting. I use various techniques, including

oils and acrylics. I also trained in ceramic

art. I do traditional felt production and

design. The time had come to design my

own ex libris and engravings, but I needed

someone to teach me. I joined the Aysen Erte

Gravure Painting Atelier. My first day was a

great experince. Her passion for ex libris and

engraving impressed me greatly. Erte uses a

wide variety of graphic techniques together

with traditional engraving methods. She

teaches everything that she knows about ex

libris and engraving.

Engraving techniques challenged me at

first. They limited me. One has limited

space to express oneself. I was a fish

out of water. But I never gave up. I

worked stubbornly, in a planned way.

Every work was a new challenge.

Erte encouraged us to participate in

international competitions. Two

months after I started working with

Erte, I received my first award in a

competition. This and the awards

that came later encouraged me.

International competitions are

an opportunity for me to meet

new artists and to see their work

in person. I have visited Serbia

(where I was awarded a medal) and

met György Boros and other Serbian

artists.

100

THE LIFE

(C3+C4) (2017)

The pomegranate and the lily flower are symbols

of fertility. For my son, Kaan Erdogan.

The twelve millennia of Anatolian civilization

constitute the main philosophy underlying

my ex libris designs: goddesses, the Tree

of Life, and other symbols. All point to one

thing: Woman. The tree of life represents

the origins and meaning of life. It is a main

figure in many civilizations, and I use this

image to represent immortality. I use various

techniques in my work.

I have opened twelve solo exhibitions and

participated in eighteen group exhibitions.

My works have been exhibited in various

cities of Turkey as well as in Machida, Japan,

Parana, Argentina, Bulgaria, and Serbia.

I am a member of the Istanbul Ex Libris

Society. I would like to produce more work

and become part of new projects. In my own

atelier I teach drawing. My goal is to teach

my students engraving and encourage them

to love engraving. Every successful student

we educate is an indication of how good our

teaching is.

Nurten Erdoǧan

101

102

POSEIDON (C3+C4) (2016)

Poseidon, god of the sea, had a golden mane and bronze hooves. He

inhabited a palace of coral and gems on the Aegean seabed, where I

swim to cool down on hot summer days.

POSEIDON’s HORSE and the TRIDENT

(C3+C4) (2016)

The trident was Poseidon’s weapon with which he

could generate earthquakes and shatter any object.

Ill ‐tempered, Poseidon punished those who annoyed

him by raising storms and shaking the earth.

103

104

GRAPES

(C3+C4) (2016)

Dionysus, god of the grape harvest, winemaking and wine, fertility,

is portrayed. The thyrsus, grapevine, and ivy are characteristic of

Dionysian iconography.

TREE OF LIFE

(CRD) (2016)

For my friend Ayşe Anıl, a diligent worker and very

determined. Her strong personality is depicted as a

tree of life.

105

106

TOPRAK ANA (MOTHER ‐EARTH or DEMETER)

C3+C4 +C5) (2016)

Toprak Ana, Mother ‐Earth or Demeter, is the goddess of the harvest

and agriculture. I depicted Mother ‐Earth as a beautiful woman.

The pink lady in the forest is the herald of spring.

DEER (ALAGEYİK)

(C3+C4) (2016)

Alageyik is part of Anatolian mythology: a deer hunter whose

only passion is to hunt down “Alageyik”. His passion is so

strong that even on the first night of his marriage he pursues

Alageyik. But his passion becomes the end of the hunter.

107

108

THE DREAM

(C3+C4+C5) (2016)

It is believed that the sunflower keeps gazing at the sun

from sunrise to sunset.

GODDESS

(C3+C4) (2017)

For Ayşen Erte, whose determined, strong, disciplined

character influenced me. I portrayed her as a strong goddess.

109

On Friday, 13 July 1962, I was born in the

Ancient City of Onitsha, Anambra State,

Nigeria. Agnes Comfort Nwagboliwe Obieze,

my mother, had no warning of any kind, that

I was coming; she had simply gone for routine

antenatal clinical session, that morning. My

delivery was a special one in our family. My

parents had five daughters without a single

son. Thus, at my mother’s next pregnancy,

bearing me, everyone proclaimed their

expectation of a male child. When I arrived,

the entire community of relatives, friends

and neighbours, exclaimed, “this is the wish

of all”. My name became instantly OBIORA,

which means literally: the wish of all!

I grew up in the culture of the Ancient Kingdom

of Onicha Ado, which now comprises the city

of Onicha. It always has had exceptional

reverence for the artist. I found attractive the

respectful attention paid to the artist by the

kingdom. He was seen as being in constant

communion with the Heavens and Forces

emanating from there. In awe I would stare at

statues and wall paintings as a child. Coupled

with this was the ease with which I created

my own masterpieces, to the applause of my

playmates. We had our canvases, bare but

smoothened earthen floor, under shade trees.

Using sharpened sticks, my fellow children

and I would draw figures in severely, stylized

profiles. I always came out best of us all. By

virtue of this, at all levels of education I was

easily a first class pupil in the class of fine

arts. Therefore, solely specializing in fine arts

now is the perfect consummation of a natural

sequence.

Throughout my formal education, I was

drawn towards the fine arts. (1) At Queen of

110

OBIORA OBIEZE

Artist, Creative Designer,

Printmaker, Illustrator, Sculptor, and Poet

AUTOBIOGRAPHY

the Niger Primary School, Onitsha, Anambra

State, I graduated in 1973 with best result

ever in fine arts. At City High School,

Onitsha, where I enrolled in the same year, I

determined to become a fully ‐fledged artist.

My class work at the time of graduation in

1978 were at the level of professional studio

masters. Immediately after leaving City High

School, I got a job at the Forestry Department

of Scoup & Co Ltd, Enugu, Enugu State.

In 1979 I registered at the University of

Nigeria Nsukka to study in the Department

of Fine and Applied Arts. The Bachelor of Art

Degree was a five ‐year program. Graduating

with high honours in 1984, the mandatory 1

year Nigerian National Youth Service, after

university graduation, took me to Okene,

in Kwara State at the time, but now in Kogi

State, all in Nigeria. I served out my primary

assignment as an art class teacher, at Associated

Ores Mining Company (AOMC) Staff School.

Learning became so much fun, then. When

my term in the National Youth Service Corps

ended in 1985, I returned to the University of

Nigeria, Nsukka, and commenced work on

my Master of Fine Arts Degree.

When I was frustrated from collecting my

Master of Fine Art Degree Certificate, I

gained employment at the then Anambra

State College of Education, Nsugbe, now the

Nwafor Orizu College of Education. I was a

part ‐time lecturer, in charge of painting and

drawing. It lasted for the 1990/91 academic

session. I tried and failed to combine the part‐

‐time teaching job with running a full studio.

It took one academic session at the College, to

realize it was not going to work out. I retired

then to my family house at Awka Road, also

Obiora Obieze

in Onitsha. I lived there with my parents, until

the year 2000, when I finally relocated to my

father’s house in our village of Odoje, where

I continue to live. I set my residential studio

in a horticultural garden, which I created

with my bare hands. I viewed the creation

of my garden as an extension of my artistic

evolution. In addition to horticulture, I love

literature. The written word has come to

mean a design material, with which to fashion

creative expressions. In so doing, various

design elements like alliteration, assonance,

rhyme, onomatopoeia and such are used in

formulating the verse.

I am now incorporating words into my

various creative expressions, since form,

colour and word emanate primordially from

the same cosmic source. My fine art career

has slowly, but consistently, drawn me away

from the distractions of earthly concerns.

Through the rigours of my creative life, I have

so evolved spiritually that I easily step into my

image of the Heavens, with the Ultimate Deity

within grasping distance. This is facilitated

by the basic process of resolving myriad

complexities of creative design, where I am

regularly confronted by the awe ‐inspiring

details of the initial cosmic creation, that is

the human planet; earth! These details appear

in the delicate forms and colours of countless

kinds of plants and animals, existing in

land and water. There is precise rendition

of aspects of these phenomenal Divine

creations that compels conclusive belief that

a conscious Intelligence was responsible for it

all. In straining to understand, I arrived at an

impressive revelation: that the whole of human

life is art in thought that must be concretized

in visible and palpable dimensional format,

holding in full perspective all three aspects of

the art form: concept, design and technique.

Therefore, if by nature, we humans without

fail, create and retain our heart’s desire, the

Almighty Deity, author of the human, must

be a compassionate Being! He would not

impose his will on any human. In view of this,

being artistically creative, I view myself as

being specially favoured; a divine creation. I

believe that the true artist is a hallowed priest,

the principal representative on earth of the

Almighty Creative Deity. For this reason, I do

111

FUSION OF FAITHS

Designed in 1998, on linocut, for Nicole Guez, art scholar and collector.

not pray, not when to pray means, peculiarly

positioning myself and begging the Deity for

assistance. Instead, I reach out intellectually,

conceiving my desire and proceeding

painstakingly, towards concreting it, putting

to use, every skill I had acquired along the

way. All through the creative process, in

profound reverence, I extol the Supreme

Deity that made it all possible. Accordingly,

I have tailored my reclusive, unmarried, and

childless living habits to correspond with

my present spiritual state. My drink is plain

water, and all my meals are cooked in water.

Most importantly, I reject tobacco and sundry

liquid intoxicants. All these perhaps, combine

to create my physical structure. I am a couple

of inches above six feet. Slim and athletic, with

a receding forehead, I now wear a full blown

grey beard. My wardrobe must not be simple.

But then, in all honesty, I do not feel simple.

There has to be an aspect or two that must ring

out, in proclamation of my Divine Ordination!

Obiora Obieze

___________

1

First School Leaving Certificate, Queen of the

Niger Primary School, Onitsha, Nigeria, 1973;

West African School Certificate, City High School,

Onitsha, Nigeria, 1978; Bachelor of Arts, Fine and

Applied Arts, University of Nigeria, Nsukka,

1984;Workshops, second (1986) and third (1987)

Nigerian ‐German Printmaking Workshop at the

same University.

112

DICE AT FORTUNE’S THROW

Designed in 1999, on wood, for Nicole Guez, art scholar and collector.

113

FOLIAGE IN GRACEFUL PROFUSION

Designed in 2004, on computer,

for Ngozi Osemenam,

Retired educator and music scholar.

TAPESTRY IN VOCABULARY

DRAWN FROM NATURE


for Mercedes Barbera,

artist, gallery curator.

114

WIDOW'S, WEEDS

Designed in 1998, on linocut,

for Dr. Tasie Egbuji, medical doctor.

115

116

NIRVANA: WHERE THE WIND BLOWS FREE

Designed in 1998, on linocut,

for May Faysal El‐Khalil, art collector.

HALCYON SNUGGERY


for Angela Nkechi Egbuji,

Chartered Librarian.

GLOAMING OF GLAD NATURE


for Angela Nkechi Egbuji,

Chartered Librarian.

117

SUĞGUR KARS ŞAHİN

BIOGRAPHY

Born in Istanbul, she studied the history

of medicine with Ord. Prof. Dr. A. Süheyl

Ünver at the Cerrahpaşa Medical School

and Turkish decorative arts (1980 ‐1988) with

a major in deontology. In 1984 she studied

ornamentation with Süheyl Ünver. Between

1988 and 1990, she studied Turkish painting

at the Beylerbeyi Advanced Technical

School. She then studyied traditional Turkish

painting at the Fine Arts Faculty of Mimar

Sinan University. She chose ornamentation/

miniature craft as the main subject and

calligraphy as a minor. She graduated in

1994. She has had personal exhibitions in

Istanbul, Izmir, Ankara, Trabzon, Didim, and

Egirdir and participated in many exhibitions

in Turkey and abroad. Awarded the Public

Jury Prize in ORSEV 52 RENK ORDU, she

has done on prints and ex libris in Ayşen

Erte’s Studio since 2011. She attended the

Exlibris Exhibition Istanbul 2013, organized

by Association of Exlibris Academy in

Lütfi Kırdan Convention Center, and an

exhibition in Istanbul Akatlar Cultural Center,

XXXV FISAE International Exlibris

Exhibition, Catalunya 2014, Spain,

and the I National Exlibris Congress

and Exhibition in Işık University on

November 2014. She took part in the

Exlibris Exhibition in Balat Cultural

Center in 2015 and 2015 Bets Print

Triennal devoted to the ‘World and

War’. In this last exhibition one of her

works was published in the catalog. In

2016 she participated to XXXVI FISAE

International Exlibris Exhibition,

Vologda, Russia.

MY THOUGHTS

Suğgur Kars Şahin

I was quite excited when I encountered

the ex libris. I am normally an artist

specializing in ornamentation and

miniature graphics. Ornamentation

is a book art. In this art the pages

of books are crafted one by one,

communicating to us the owner and

his library. That is why the ex libris

stole my heart and excites me. While

the ex libris was secreted deep in

my heart, I met Ayşen Erte. I began

to design prints and ex libris in her

studio. We still take part in exhibitions

in Turkey and abroad.

Suğgur Kars Şahin

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“The Rose and the Nightingale”

(The CRD of my miniature)

For Nalan Beken, who is in love

with love itself.

“The City of İzmir” (The CRD of my miniature)

Another beautiful city in Turkey; for my cousin, Orhun Kars.

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“Beylerbeyi Mosque and the gate fountains”

Two fountains with their dignified stance by the roadside remind me of my cousin, Kaan Kars.

“The city of Trabzon” (The CRD of my miniature)

Trabzon is a beautiful city in Turkey; for my cousin Kaan Kars.

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“Faruk Şahin” Composer...

For my husband, who is deeply interested in all branches of the arts.

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“Muvakkithane”

This Ottoman library in Beylerbeyi is a significant

example of Ottoman architecture. For my cousin,

Orhun Kars, a great reader and collector.

"The Waterfall" (The CRD of my miniature)

For a free spirited friend, Nur Köseoğlu.

“The Lily” (The CRD of my miniature)

The upright stance and strength reminds me of Emel,

my brother’s wife, and therefore is dedicated to her.

“Ottoman charity tower (i.e. dibek taşı) and fountain”

In Ottoman times, charity towers were small stone

towers designed to allow generous benefactors to

place money in the tower so that the needy could

take money out when necessary without feeling

embarrassed. For Sinan Kars, who has a generous

heart and always helps the needy in secret.

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123

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“Lilies” (The CRD of my miniature)

Their serene beauty and pure white colour reminds me of my

mother’s ability to love, to share, and the great happiness she derives

from being with people.

“Ottoman Fountain at the Beylerbeyi Pier”

Beylerbeyi is my local neighborhood; the Ottoman fountain at

the pier is a significant symbol of its history and cultural beauty.

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JOSÉ SALVADOR

ANTÚNEZ CARACENA

Nace en Ayamonte, Huelva, España, 1951.

Ha compaginado toda su vida de Ingeniero Técnico

Industrial con la artística. De formación autodidacta.

Pintura, Dibujo y grabados a la manera negra, buril,

aguafuerte, aguatinta, linóleo, fotopolímeros,

transferencias. Colaboración en libros y revistas.

Jurado en certámenes de pintura y grabado.

Publicación de diversos carteles.

En 2009 patenta su tórculo y la marca Antúnez.

Docencia:

2007: I Curso de verano de grabado. Técnicas

directas. Universitat Rovira i Virgili,

Tarragona.

2008: I Curso de verano de grabado. Manera

Negra, buril, linóleo. Ayamonte,

Huelva.

2009: II Curso de verano de grabado: Manera

Negra, buril, linóleo, polímeros,

transferencias. Ayamonte, Huelva.

2010: I Curso de verano de grabado: Manera

Negra, polímeros, transferencias.

Algeciras, Cádiz.

2012: Taller de Grabado. La Manera Negra y

el Fotopolímero, 300 Años los separan.

(Curso organizado con el MuPAI

Museo Pedagógico de Arte Infantil, y la

Universidad Complutense de Madrid).

2014: Taller de Grabado. La Manera Negra.

Asociación Española de Pintores y

Escultores, Madrid.

2014: Conferencia “Grabados con

Fotopolímeros”. XXXV Congreso

Internacional de la FISAE, Tarragona.

Imparte clases de las diferentes

técnicas de grabado, en su taller en

Majadahonda, Madrid.

Publicaciones:

En 1996 realiza cuatro cartelas al acrílico para

el palio de la Virgen María Santísima del

Rosario de la Hermandad del Lunes Santo de

Ayamonte. En 1998, publica “Tauromaquia”

carpeta de seis estampas a la manera negra

y texto de Federico Arnás, en 2000 realiza

la serie “De Atocha a Chamartín” de seis

estampas a la manera negra y en 2001 publica

“Los Planetas” carpeta de nueve estampas

a la manera negra y buril patrocinada por

Iberdrola y presentada en Estampa 2001 por

la Galería Nela Alberca. En 2005, Contratalla

Art edita su libro “La Manera Negra”.

Premios y selecciones:

1994 Primero Premio de Pintura “Colegio

Ingenieros Técnicos”, Madrid.

1996 Mención de Honor II Salón de Verano,

Goya Art Gallery, New York, EE.UU.

1998 Premio Adquisición XIII Certamen de

Grabado “Fund. Alcalde Zoilo Ruiz

Mateos” Rota, Cádiz.

2000 Primero Premio XXVII Certamen

Internacional de Grabado “Epifanía

2000” Milán, Italia.

2001 Premio d’Onore Gallería Centro Storico,

Artisti in Vetrina del III Millennio,

Florencia, Italia.

2002 Mención del Jurado I Bienal Internacional

de Grabado Contratalla, Tarragona.

2004 Mención del Jurado II Bienal

Internacional Ex ‐Libris Contratalla,

Tarragona.

2007 Medalla a la Contribución al Arte y

la Cultura. Gallería Centro Storico,

Florencia. Italia.

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2008 Mención del Jurado IV Bienal

Internacional de Ex ‐Libris Contratalla.

Tarragona.

2010 Mención del Jurado. Ex ‐Libris

Associació Catalana D’Exlibristes.

Restaurant Ares. Vila seca, Tarragona.

2011 Mención Honorífica, VI Bienal

Internacional de Mini Ex ‐Libris

Contratalla. Tarragona.

Exposiciones:

A lo largo de su trayectoria artística participa

en más de ciento treinta exposiciones

colectivas y veintiséis individuales en

ciudades de España, Portugal, Argentina,

Brasil, Connecticut, Japón, Italia, Alemania,

EE. UU. Participa más de 10 años en el Salón

Internacional del Grabado Contemporáneo

Estampa, Madrid.

Obra en:

Museos de España, Italia, Alemania y EE.UU.

Colecciones privadas en España, Portugal,

Japón, Alemania, Holanda, Italia, EE.UU.

Obra publicada en:

Diccionarios de pintores y grabadores

de España e Italia; en libros, revistas y

periódicos, de diversos países del mundo.

Reflexiones:

Dentro de las posibles técnicas con las que

el Arte se manifiesta está el grabado y en el

“los ex ‐libris”. Yo lo considero una forma de

expresión tan válida, atractiva, importante

y bella como lo es la pintura o la escultura,

dos técnicas que, directa o indirectamente,

conozco lo suficiente como para poder

manifestar y defender todo lo que quiero

transmitir sobre el grabado. Hay un punto a

favor de éste, que todas las obras realizadas

por el autor se pueden compartir, como lo

define un grandísimo amante del mismo,

Mariá Casas, en su libro “El arte compartido”.

La verdad, me gusta esta acertadísima

definición del grabado, desde la primera vez

que la leí, desde entonces y con el permiso del

autor la hago también mía.


Como arte compartido es innegable que el

grabado ha contribuido, como ningún otro

medio artístico, a difundir la obra plástica,

debido, en gran parte, a poder ser adquirido

por el gran público. Cuando el hombre

necesitó que estas manifestaciones artísticas

pudiesen ser trasladadas, admiradas o

compartidas en otros lugares para transmitir

su arte, se apoyó en soportes como el lino,

papel, madera, piedra, metales, etc. Lo

mismo hizo con el grabado, tomar como

soportes el linóleo, madera, piedra o metales.

A la hora de expresar su arte a través de

la pintura y escultura coge los pinceles,

lápices, gubias, formones, óleos, acuarelas,

ceras, etc., con el grabado recurre al buril,

graneador, bruñidor, tintas, aguafuerte o

resinas, rematando la operación al trasladar

lo realizado en la plancha, una vez entintada

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y por medio de una fuerte presión, al papel

o cualquier otro soporte capaz de retenerlo.

Dentro de la pintura y la escultura existen

numerosas técnicas, como, por ejemplo,

el óleo, acrílico, acuarelas, ceras, collages,

relieves, bajorrelieves. Dentro del grabado

también existen el buril, manera negra,

aguafuerte, aguatinta, gofrados, etc. Cuando

grabo y estampo me siento escultor y pintor.

¡Qué barbaridad!, dirán algunos, pero los

que lo practican, y disfrutan con ello, saben

perfectamente lo que digo.

¿Se está, en los grabados, con sus pequeñísimas

incisiones de buril, punta seca, graneados con

bruñidor o raspador, esculpiendo? ¿Cuándo se

entintan o manchan las planchas, antes de su

estampación con rodillos, espátulas, tarlatanas

o pinceles, se está pintando? Para mí, sí. Esto

es lo que pienso del grabado, seguro que la

mayoría de los grabadores piensan lo mismo;

escultores y pintores estarán divididos entre

aquellos que desconocen las técnicas del

grabado y los que conocen dichas técnicas y

las realizan, los primeros responderán que

no y los segundos dirán que sí. Los ex ‐libris,

sin dudarlo, son obras de arte que contienen

parte de escultura y parte de pintura.


Ex ‐libris dedicado a Mariano Casas Hierro y todos sus oficios.

Grabador, arquitecto técnico, licenciado en Bellas Artes (Manera Negra, 2006).

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Don Quijote de la Mancha.

La razón de la sinrazón que a

mi razón … Tema cogido para

recordar la sinrazón de los que

roban, maltratan…

(Premiado en VII Bienal

Internacional de Ex ‐libris,

Contratalla. Manera Negra, 2015).

Aniversario 2.500 años de antigüedad

de la ciudad de Tarragona = Tarraco

(nombre romano de la ciudad de Tarragona).

El paisaje son las ruinas del anfiteatro

que existe en Tarragona.

El personaje, un Cesar romano (mi hijo).

Representa una moneda

de aquellos tiempos (Manera Negra, 2008).

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Ex ‐libris dedicado a mi mujer, Manuela, de la tierra de Don Quijote.

Buena lectora (Manera Negra, 2014).

Ex ‐libris dedicado a una periodista, Carmen Pallares, muy buena crítica de arte,

escritora (mucho de los títulos de los libros que se ven son de ella),

es músico y su deporte favorito lo practica, es el esgrima (Manera Negra, 2010).

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Ex ‐libris a mi nombre, recuerdos de mí

infancia de ver una bella mujer

bañándose (Manera Negra, 2006).

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EWELINA RIVILLO

SOME WORDS FROM A YOUNG ARTIST

Born in 1991 at Speyer, Germany, all my

life I have lived and worked in Poland. In

2016, after attending a five year program in

the field of graphic arts, I graduated with a

Masters Degree in Fine Arts at the University

of Silesia. I began ex libris design in 2014 at

Krzysztof Marek Bak´s class and to date

have designed 35 ex libris. My technique is

CRD – computer reproduced design. I draw

the entire design on paper and then add

lettering on the computer. All the designs

are black and white with plenty of detail and

ornamentation. I derive inspiration from

the secession arts, especially the rich floral

ornaments, and also from the artwork of

Aubrey Beardsley.

for the best ex libris for the city. I have

exhibited my works in Poland, the Czech

Republic, Ukraine, Finland, and Mexico. In

2016 I travelled to Finland to lecture about

500 years of the Polish ex libris at the XXXII

International Ex libris Meeting in Naantali,

Finland. I was the only artist from Poland

there.

Ewelina Rivillo

Most of my designs feature nature – flora

and fauna: flowers, leaves, and little animals

such as birds or butterflies. I always tell that

the human being is a creature originating

in nature, so I find originality and meaning

there. This is my language for relating the

client’s character or soul – symbols from

nature world.

A common theme in my ex libris designs

is music: various instruments and notes. I

played the flute for twelve years and have

been a singer for most my life. I believe

that music is special and beautiful, an

international language that everybody feels

and understands the same way. In my heart

I compose ex libris containing symbols

and allegories that create a metaphorical

portrait of a person. Every drawn object

has its meaning and every little graphic

is important, portraying the character,

emotional or psychological traces, interests,

dreams or values of the client.

In 2014 I became a laureate in the International

Exlibris Competition in Gliwice, Poland,

Opus 16 (2014) for Blanka Ma.

Delicate flowers for a nature lover.

Butterfly with little headphone is the symbol of

her innerbeauty and her being a music addict.

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Opus 25 (2015) for

Dagmara Masnicka.

The client loves the

marine world and

is interested in

oceanography and

underwater nature.

I created a geometric

world with that

theme and added an

anchor as

a symbol of her strong

moral foundations.

Ewelina Rivillo

Ewelina Rivillo

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Opus 30 (2016) for Agnieszka Rajska.

The recipient loves music, plays the guitar; this

is the symbol of the bond with her sister. Linked

strings represent the closeness of the sisters.

Singing bird is a sign of inner happiness.

A four ‐leaf clover is her spiritual symbol.

Opus 19 (2014) for Rajmund

Aszkowski.

The medieval castle is a symbol

of Rajmund’s favorite theme,

Don Quixote. Vine and grapes

lead to the wine carafe.

Opus 17 for Aneta Tabor (2014).

The old tree with the ornamental key

and black car. This is the symbol of mystery,

the magical side of personality.

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Opus 18 (2014) for Aleksandra Rogalska.

The violin as a lonely island, linked with

the shy bird on the top. Aleksandra loves

nature; she is a solitary,

introverted, calm.

Opus 32 (2016) for Joanna Klimsza.

Fairytale castle is a symbol of a great imagination

and strong moral rules in Joanna’s life. The film is

a road in her life. The scales are her justice. The

moon symbolizes the strength of a woman.

Opus 29 for Biblioteka Publiczna

w Olesnicy (2016).

The city walls with a beautiful gate

symbolizes the city of Olesnica,

in Poland. The flowers within represent

all the city’s wealth of cultural

heritage and legacy.

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Opus 33 for Rene Kamminga (2016).

The rooster symbolizes strong character of the

homeowner. Antlers with leaves – he hunts but is

in contact with nature. The fish bonds him with

his best friends because they fish together. Coat

of arms with scales represents his noble origin

and values in life.

Opus 21 (2016) for Rozalia Zemanek.

My grandmother’s ex libris. She raised me,

so the moon symbolizes her motherly care

and femininity. Two trees connected by

roots suggest our strong family bond.

Opus 28 (2016) for Krzysztof Marek Bak.

The planets , cosmos and keyhole to new universe

symbolize the new reality and a wise mind. The recipient

is a university lecturer, a painter – brushes, ex libris

designer, and also a writer – pen.

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Opus 27 (2015) for Leszek Saminski.

Romanesque rotunda is a symbolfor the client’s home town.

Local flower from Cieszyn, called Cieszynianka, is a symbol of

delicate nature. The clock disc symbolizes his patience, he also

loves cats –four cat footprints, he works as a bookbinder

– books, but his education is as a chemist – buret.

Opus 34 (2017) for Sylwia Terczynska.

Ancient Egyptian symbols – pyramids is

her favorite theme. Scarab with the caring wings –

wealth, happiness. Horns of plenty –an ancient symbol.

The eye of Horusis a symbol which protects.

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DILARA OKTAR GÜRSES

My Journey Of Ex Libris

I was born in 1957, in Istanbul, Baglarbasi. I

opened my eyes to an house where my father

continued his artistic studies as a hobby

to himself. That was the time when I had

smelled out the paint scent for the first time in

my life. As a kid and during my student years

I always savourly studied for my painting

lessons. During high school years I specially

prepared for the Fine Arts Academy entrance

exams. In the year of 1976 I was accepted

to The Fine Arts Academy of Istanbul. In

addition to the painting and drawing lessons

I took at the university, I had the certificate

from field of unique arts such as engraving,

linoleum and litography, with this my story

with printing had begun excitedly.

My first engraving work took place in 1981

at a mixed exhibition at the Academy Osman

Hamdi Salon. In this process, I learned the

BLUE BIRD

Opus 27 : Deniz Erbas

For my cousin Deniz with whom I chat about art, books

or historical places. She photographs the birds herself.

The blue bird has a special place in her life.

(2016, CRD)

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Dilara Oktar Gürses

139

term “ex libris” from my teachers and I was

very interested in it. When the examples

were shown, the relation with the small but

meaningful large pictures, the kindness, the

books and the people have never been out

of mind. The “AD” sign I see in the book of

Albrecht Durer, which a friend of mine gave

me as a gift together with all of this, is an

important symbol. So I have studied Albrecht

Durer’s prints and lines for a long time.

In 1981, I finished the academy and I worked

as an art teacher along with my artistic

studies. I met the children’s naive lines

during my teacher training. In the meantime,

my fondness for books and reading brought

me to my father ‐in ‐law’s rich library. I

realized on the books that the ex libris were

formed with initials that symbolized the

names of the family.

I started my first ex libris studies by being

a member of Istanbul Ex Libris Academy

Association led by Latife Baştuğ. In this

direction, I participated in many exhibitions,

symposiums and biennials both at homeland

and abroad. In this process, some of my

works have been exhibited and entered

the catalogues. Among the activities I

have attended abroad are; in 2012, 34th

Fisae Naantali Finland, in 2014, 35th Fisae

Catalunya Spain, in 2016, 36th Fisae Russia

Vologda Congresses. By also being a member

of Istanbul Ekslibris Association which was

established under the leadership of Hasip

Pektaş my studies have been strengthened.

My first ex libris experiment is a work that I

did on behalf of my daughter which I sent to

Guanzou in 2010.

I have studied archeology, mythology,

women and sea themes in my studies. In

addition to my curiosity about art of painting,

archaeological areas have an important place

in my life. The Anatolia we are in is very rich

in this matter and I am a part of it. I am very

pleased to be able to combine the traces of

the past and the present and explore these

regions. I have used it in my paintings,

realizing that the experiences on the walls,

together with the traces, are the symbols,

especially the “spiral” symbol that carries in

the past, present and future.

Motifs, plain lines, textures, the forms,

figures and portraits that emerge in Anatolia

are impressions that show themselves in my

pictures in an expressive way. In addition,

although I grew up and lived at the seaside,

I am visually and symbolically reflecting

the meeting of history with the sea in my

paintings due to my extreme interest in the

sea. I live in Istanbul which is a seaside city,

and my colleagues with book collections are

also in this environment. I live by combining

the past with the present in history, and

the people I work with who are my friends

valuing these books. When they see the ex

libris; since they can also be presented as art

forms, personal items, and gifts, they start to

understand and take this art very happily.

I noticed the appropriateness and spirituality

of the ex libris to my character by participating

the congresses and the symposiums which I

see as books, art and writing combined. I have

found myself in the world of communication,

love and connection with people of all

ages, together with ex libris, which has an

incredible wealth. I understood that these

seemingly small but meaningful Works

are created by artist laborers as if they

were engaged in heavy and fine work in

accordance with excitement, labor, working

bodies, irony and patience.

I give my gratitude and love to my friends

whom I worked together during my studies

about Ex libris journey. I will continue my

studies. Nice to have friendships.

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WALLS AND TRACES

Ops 5 : Dilara Oktar Gürses

My curiosity about archeology, my research on this

subject, historical places, traces and textures of the walls,

daytime reflections on past experiences give me joy

and happiness in this space.

(2012, C3C4C5Col.)

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THE WOMEN OF SEVEN HILLS

Opus 11 : Dilara Oktar Gürses

Istanbul, the beautiful city where I was born and still

live, comprises seven hills, each an

important cultural site which has a story of

each religion. This ex libris is for

my books on this subject.

(2013, C3C4C5Col.)

UNCHANGING

Opus 13 : Deniz Oktar

A study integrated with my cute and

beautiful cousin Deniz, who is curious

about the ceramic arts.

(2014, C3C4C5,Col.)

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WOMAN WITH FISH

Opus 17 : Bige Su

For my sea lover daughter who loves Istanbul

and works on Byzantine history and culture.

Fish, tulip form, and female figures in the

image symbolize Istanbul.

(2014, C3C4C5Col.)

IN TIME

Opus 29 : Sema Basgelen

For the Lady “Sema”

who lives for books, has a deep knowledge

of archeology, loves nature and art, is a gallery

and bookshop owner, and a friendly and sweet person.

(2016, C3C4Col.)

145

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JOURNEY

Opus 30 : Yasemin Silivrili

We attended university at the same time; she is

my graphic designer friend. We had

shared exhibitions for a while. For a

beautiful person who loves the sea,

history, and nature.

(2016, C3C4C5Col.)

PEACOCK

Opus 31: Serra Akademir

The peacock is colorful, mystical,

and sacred for me. I expressed my love for my sister

in this image with a peacock.

(2016, C3C4C5Col.)

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BORIS ANDREYEVICH

TKACHENKO

Artist and Intellectual

By Marziya Zhaksygarina,

Associate Professor of Art History,

Ph. D. in Cultural Studies, Kazakhstan

Boris Andreyevich Tkachenko was born on

1 December 1937 in the village of Bukon,

Semipalatinsk Region, Kazakhstan, as

was his father Andrey Karpovich (1914‐

‐1984) and his mother Tatiana Kirillovna.

He inherited a love of folk crafts from his

grandfathers, Kirill Pavlovich Sbitnev and

Zahar Radionovich Krivosheev, a cooper. B.

A. Tkachenko graduated from the Higher

Party School of the Central Committee of the

CPSU. A political scientist and civil engineer,

he was involved in party work for twenty five

years, including eleven years as a lecturer at

the Zhambyl Region Party Committee.

Since September 1984, after a long illness

he has been receiving a merit pension

(disabled person of the second group). Upon

retirement, he continued to work as an artist

of Paryz, Otan, Taraz newspapers and was

also involved in artistic and decoration work.

Since childhood love of the Fine Arts has

been the guiding star of Boris Andreyevich,

and later became the meaning of his life.

Boris Andreyevich was introduced to

the bookplate as a fifth grader. Imitating

his father Andrey Karpovich Tkachenko,

he began engraving on rubber, making

something similarly to stamps with which

he marked his books. Boris Andreyevich

designed his first bookplate in 1961, when

he was working as an art teacher in the D. A.

Furmanova Secondary School, Moyinkum

District, Zhambyl Region. Working in a

remote area, he spent three years (1961 ‐1964)

taking correspondence classes at the National

University of the Arts, which was founded in

Moscow in 1960, based on correspondence

courses of the N. K. Krupskaya Central

House of National Creativity, at the Faculty

of drawing and painting. Boris Andreyevich

sent his practical work executed per the

university curricula and textbooks, and then

received written advice from his instructor,

Evgeny Petrovich Minin, which contained

the analysis of submitted work and guidance

for further educational activities.

Taking correspondence classes at the

University of the Arts gave the artist new

practical and theoretical knowledge, which

he then applied in school, in classes, and

in his work. In 1960s and 1970s he created

six bookplates for family members. In the

1990s he started actively making bookplates,

participating in exhibitions, popularizing

the art of bookplate in the media. In 1991,

the year of the collapse of the Soviet Union,

Boris Andreyevich organized the Zhambyl

Region Exlibris and Graphic Enthusiasts

Club affiliated with the Kitap Society. On

2 July 1991, the Presidium of the Board

of Zhambyl Region branch of the Kniga

Society issued a decree which provided as

follows: 1. To create the region exlibris and

graphics enthusiasts club operated by the

Kniga regional organization – DOKELG

(Russian abbreviation for Zhambyl Oblast

Exlibris and Graphics Enthusiasts Club)

– cultural and educational organization

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Opus 168 (2000):X3: PESCARA JUBILEO

Devoted to the 2000 th anniversary of the birth of Christ, and

based on the ancient orthodox icons of the Mother of God

of Cyprus (IV century) and the Barlov icon, also known as “Blessed Womb

(XIV century). The work represents the iconography of “Milkgiver”, the

Blessed Virgin is depicted seated. The Infant Christ clings to Her breast,

holding it with his right hand. White halo surrounds the heads of the

Blessed Virgin, Infant Christ, and Angel.

149

uniting on a voluntary basis collectors

of bookplates, easel paintings and book

graphics, postcards, calendars, business

cards, books and miniature bibliographical

rarities, as well as graphic artists. Since that

time, B. A. Tkachenko has held several ex libris

exhibitions in Taraz, including international

ex libris exhibitions. The second exhibition

“Ex libris of England” was conducted from 10

October to 20 November 1991 in the Zhambyl

Book Centre. The exhibition presented more

than 60 works from the collection of B. A.

Tkachenko, President of Zhambyl Region

Exlibris and Graphics Enthusiasts Club.

The first Kazakhstani international ex libris

exhibition – “World of Ex libris” – was held in

Zhambyl (Taraz) between 1 and 15 December

1992. About 500 works from 30 countries

were sent to the exhibition. The second

international ex libris exhibition – “Peace.

Friendship. Unity!” – was held in Zhambyl

(Taraz), between 22 June and 22

July 1993. Tkachenko has always

been in correspondence with the

major collectors and promoters of

bookplates Ivo Prokop from the

Czech Republic, George Kiesel

from Baku, Viktor Manzhulo

from Vilnius, and others. For

example, his third solo exhibition

of miniature graphic – “Memory,

equivalent to Conscience” –

was dedicated to the former

director of the City Museum, the

largest collector and an active

promoter of bookplates – Viktor

Mikhailovich Manzhulo. More

than 100 works were exhibited

in this exhibition, including Boris

Andreyevich’s 30 bookplates,

which he made on silk for the

first time.

Boris Andreyevich Tkachenko

To date, he has made more than

220 bookplates engraved on

linoleum, some on plastic. Often

his sophisticated bookplates

abound with strange inscriptions

and symbols. The more one

looks at his work, the more

one’s attention is attracted to the

content, an unusual composition.

Erudition, culture and diversity

of the artist amaze the viewer and

at the same time captivate him.

For his bookplate’s composition

the artist uses different forms,

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attributes that best characterize the future

owner of the ex libris, or the portraits of

poets, writers, historical figures, or a portrait

of the bibliophile himself. Lettering in the

compositions of Boris Andreyevich is a

virtuoso performance, be it Arabic script,

Chinese characters, Cyrillic or the Latin

alphabet. The artist uses them deliberately,

with great knowledge of alphabets and

languages of his favorite sayings. There are

sayings in Latin, Russian, Italian, Kazakh,

Chinese and other languages. Various

encyclopedic dictionaries are used by the

artist. Thus, each bookplate of the artist is a

visible mark of his intellectual world.

Boris Andreyevich’s services to Kazakhstan

are undeniable he has been the permanent

President of Zhambyl Region Exlibris and

Graphics Enthusiasts Club. He taught ex

libris to a large number of artists, the oldest

of them Alexander L. Lezhnin, who will turn

90 this year and is still full of creative powers

and continues to produce bookplates and

participate in exhibitions. B. A. Tkachenko

is a member of the Kazakhstan Union of

Artists, and the International Association of

World Art, and a member of the International

Club of Friends of Saint ‐Exupéry. Since 1961,

he has participated in regional, national,

and international exhibitions. Laureate and

winner of six major international exhibitions

and a member of the Japanese Association

of Exlibris, he has been awarded medals and

diplomas of the Supreme Soviet of the Kazakh

SSR. He lives and works in the city of Taraz.

Translated by Daniyar Otegen

Opus 126 (1997):X3 – MARIO DE FILIPPIS

Ex libris for the collector from Arezzo, Italy.

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Opus 99 (1995):X3: LUDMILA

TKACHENKO

For a teacher his daughter Ludmila.

Portrays the portrait of the great Italian

poet, Dante Alighieri. Behind the poet is

his “muse” and a secret lover – Beatrice,

presumably Beatrice Portinari. She was his

first and platonic love. Beatrice was sung of

in the major works of Dante and had a huge

impact on the development of the theme of

the poet’s platonic love to an inaccessible

lady in European poetry of the following

centuries.

Opus 128 (1997):X3 NETSUKE

Dedicated to a Japanese artist, Netsuke.

Japanese miniature carved sculpture, also called

Netsuke, is in the foreground. It was used for

attaching keys or coin purses to a kimono belt, as well

as a clothing decoration. Characters denoting the

artist’s name are arranged vertically near Netsuke.

Mount Fuji, Japan’s highest mountain (3776 m.) is in

the background.Sakura is designated as cinquefoil,

symbolizing the five main desires good luck,

longevity, prosperity, peace, and joy.

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Opus 157 (2000):X3: K. A. ABDIKESHOVA

For K. A. Abdikeshova, a civil servant. The bookplate

depicts storks in the nest, the inscription in Arabic script, and in Kazakh

“Zhambyl ‐Taraz ‐2000”. The old and new names of the city of Taraz, which

celebrated 2000 years. Pride of place in the ex libris goes to the portrait of

the Kazakh Soviet poet ‐akyn, laureate of the Stalin Prize of the second

degree (1941), Zhambyl Zhabayev, born in 1946 to the nomadic family of

Zhabay. When still a boy, Zhambyl learned to play the

dombra. He sang exclusively in Kazakh to the accompaniment

of the dombra in tolgau (recitation) style. He learned the art of

improvisation from akyn Suyunbay.

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IRAM WANI

An artist from Pakistan

Iram Wani graduated in 1999, from the

National College of Arts, the second oldest art

school in South Asia, with a bachelor’s degree

in print making. She completed an MSc in

mass communication from AIOU, Islamabad,

the capital city of Pakistan, in 2008. Wani is

an educator and visual artist who is working

as an Assistant Professor at her alma mater,

the National College of Arts, Rawalpindi,

Pakistan, in the printmaking department.

She is also supervising printmaking theses

at the Fatimah Jinnah Women University,

Rawalpindi. Wani has exhibited nationally

and internationally in the medium of varied

printmaking techniques.

In 2012, Wani completed a printmaking

residency with master printmaker Maureen

Lucia Booth. There, in a studio perched on

the hillside in one of the most evocative

places in Spain – the foothills of the Sierra

Nevada mountains outside Granada, she

learned non ‐toxic printmaking techniques;

solar plate printing and liquid plate printing.

In one dimension her art work emphasizes

the growth of an everyday woman living in

a social milieu dominated by the opposite

gender and restrained by the manacles

of ancient bondage. It focuses on the

elevation of a female as self, as an individual

and collectively, from hopelessness to

empowerment ... socially, legally, politically

and economically. She believes that living

in a patriarchal society, the time has come

for existing viewpoints to be replaced by

adopting, as a female, personal fundamental

ideas and values. But this on no account

means replacing the inherent qualities of

her gender, but rather channeling them,

extending them into the realm of limitless

opportunities of self ‐growth and self‐

‐dependency.

In another dimension her visual art

endeavours, in a patriarchal society, to

find order in the chaos of the past and the

remembrances and experiences of today. A

chaos that is a pattern within a pattern and

a pattern overlapping another. She analyzes

these patterns, trying to decipher them. This

chaos directs her in its weird randomness

towards a path where she finds her inner self

repeatedly. There is a strange solidity in the

whirling chaos. Fecundity itself lies within

this constancy. The patterns she sees within

a chaos existing in a conservative society

are depicted in her work through elements,

chosen not randomly but rather through keen

observations. The presence of these elements

always has symbolic meanings; they are the

soul of her visual images. Sometimes they

appear in the form of colors, sometimes as the

lines and textures.

Ex libris that evolved from simple inscriptions

in books common in Europe during the

Middle Ages is an art form and an object

of collecting in the modern era. Although

prevalent in many countries, sadly there are

no ex libris designers in Pakistan. Iram Wani

is the first and to the best of our knowledge

the only ex libris artist at work in Pakistan.

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Iram Wani

155

156

Opus 1 (2016) : Untitled: P5

Dimensions : 13 x 13 cms.

Exhibited at the International Ex ‐libris Exhibition, Skopje, 2016,

Republic of Macedonia.

“In all chaos there is a cosmos, in all disorder a secret order”;

quote by Carl Jung defines the above ex libris. The design

signifies the pattern only visible as the chaos unfolds its appearances.

To absorb and understand this exquisiteness one

must immerse oneself in the entirety of chaos.

Opus 3 (2016) : “Freedom” : C3, C4, C5/col.

Dimensions : 8.5 x 10 cms.

Exhibited at the Printmaking show, Nomad Gallery,

Islamabad, 2016, Pakistan.

This design “FREEDOM” is inspired by the poem Aurat “WOMAN”

by eminent poet Kaifi Azmi … who wrote “Aurat” asking women

to stand shoulderto shoulder with men, not two steps behind …

You are Aristotle’s philosophy, Venus, Pleiades

control the sky, the earth at your feet.

Yes, raise, fast, raise your forehead from the feet of fate.

I too am not going to pause, nor will the time.

How long would you falter, you have to be fire.

Get up, my love, you have to walk with me.

157

158

Opus 2 (2015) : Untitled : C3, C4, C5/col.




An egg in the ex libris represents pure consciousness.

An awareness that comes through experience of the complete system

of Unity and is direct inquiry from within, the longing of

the heart to understand the wisdom of divine intellect.

Opus 4 (2016) : “Traditions”: C3, C4, C5/col.

Dimensions : 8.5 x 10.5 cms.



“TRADITIONS” represents the apparent beautification of a female with

adornments and treating her as an inanimate object, a distressing fragment

of our culture, lacking the realization that the true adornment

of a human being without gender bias, is education.

Malala Yousafzai, a Pakistani activist for female education, is right when she says:

“Even if they come to kill me, I will tell them what they are

trying to do is wrong, that education is our basic right”.

159

160

Opus 5 (2016) : “Koi”: C3, C4, C5/col.


Though born in Islamabad, my soul forever belongs to Kashmir. “KOI”,

symbolizes the ancestral village Kashmir. A valley fragrant with

saffron and mysticism.

Self ‐inside self, You are nothing but me

self ‐inside self, I am only you (by Kashmiri mystic Lal Ded ).

Opus 6 (2016) : “Katas Raj”: C3, C4, C5/col.

Dimensions : 7 x 10.5 cms.

The old name of Katas Raj was Kataksha, which in classic Sanskrit means

“God’s Tears”. Katas Raj is a temple complex believed to date back to

Mahbbharta era, consisting of seven ancient temples called Satgraha,

remains of a Buddhist stupa, a few medieval temples and havelis.

The oldest temple dates to the 6 th century A. D.

These temples, built around a pond holy to Hindusm

constitute an important Hindu pilgrimage site in Pakistan.

161

JAVIER GARCÍA DEL OLMO

BIOGRAFÍA

Nace en Almoguera, Guadalajara, España,

en 1948. Sus comienzos en el mundo gráfico

los realiza en los talleres de tipografía y offset

de la Imprenta Gráfica Salesiana de Atocha,

en Madrid. En 1962 entra en Edicolor donde

confirma su aprendizaje rotando en los

talleres de dibujo, composición tipográfica

manual, fotomecánica, montaje, impresión

y encuadernación mecánica. Tres años más

tarde, se hace cargo del estudio de creación

de esta imprenta.

Entre 1966 y 1968, compagina el trabajo de la

imprenta con el estudio de Augusto Jurado y

José Mª Gimeno (Yo, Gimeno). Complementa

su formación autodidacta con las sesiones de

dibujo de desnudo y grabado calcográfico

en el Círculo de Bellas Artes de Madrid.

Entre 1968 y 1972, es jefe de estudio del

Centro de Diseño de Jerzy Hoszek, grafista

de la Escuela de Basilea, depositaria de una de

las escisiones de la Bauhaus. Gracias a Hoszek

se confirma su pasión por la arquitectura

de la letra, volcándose en la aplicación de

la tipografía y la caligrafía en sus diseños.

Perteneció a ASAP (Asociación Sindical de

Artistas Plásticos) de Madrid, donde colaboró

en la organización y las comisiones de

trabajo. Desde 1972 trabaja como autónomo

en su estudio de Madrid, desarrollando su

experiencia y asesoramiento en todas las

fases de preimpresión en diseño gráfico,

donde ha abordado la ilustración, rotulación,

caligrafía, diseño de stands, carteles, grafismo

integral, serigrafía, collages, audiovisuales,

pintura y grabado al aguafuerte.

Javier García del Olmo

con el ex libris caligráfico

de su amigo Ricardo Rousselot.

Ha diseñado marcas y líneas de identidad

corporativa para más de seiscientas empresas,

especializándose como grafista en diseño

integral, además de envases de productos,

cabeceras de revistas, líneas de cosmética

y dermofarmacia, diseño editorial e institucional.

Además, hay que destacar su

actividad editorial en el diseño de libros,

revistas, enciclopedias por entregas y más

de doscientos catálogos de artistas. También

ha diseñado ediciones de bibliofilia. Practica

162

demostraciones, con taller abierto de

caligrafía cancilleresca, en salones del libro

antiguo para inducir a la escritura manual.

Igualmente, ha impartido cursos de iniciación

a la caligrafía. Ha escrito numerosos artículos

sobre caligrafía e imprenta y ha editado

varias obras y opúsculos relacionados con

las artes del libro.

Su biblioteca temática, con más de cinco

mil volúmenes, dedicada a la escritura,

caligrafía, tipografía e imprenta (abarcando

todos los oficios subsidiarios), así como

las colecciones de útiles, herramientas,

máquinas y materiales afines a todo

ello, constituyen un corpus de museo en

proyecto. Entre los premios recibidos, ha

compartido con Egraf el premio al Producto

Gráfico 1996; primer premio de caligrafía

IV certamen de Escritura con pluma, San

Sebastián 1993. También forma parte del

cuerpo de Senadores del Museo de la

Imprenta y de la Obra Gráfica de Valencia,

desde el año 2000. Socio del CCOE (Club

de Collectionneurs d’Objets d’Écriture) de

París, desde 2005.

Esther Vilas (España)

(1990) : 70x80 mm : E, P7/ 4 col.

Siglas: E = Caligrafía; T = Tipografía;

TM = Técnica mixta; P7 = Offset.

José Luis Sánchez de Vivar (España)

Librero anticuario y editor.

(1992) : 95x80 mm : E, T, P7/ 1 col.

Familia Márquez de la Plata (Ecuador)

(2013) : 75x80 mm : E, T, P7/2 col.

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François Maréchal (Francia)

(1993) : 60x90 mm : E, T, P7/ 2 col.

Martín Oliete (España)

Juzgar como importante lo pequeño

suele producir cosas grandes.

(1993) : 90x90 mm : E, T, P7/ 4 col.

José Ramón Nachón Herrera (España)

(1994) : 90x80 mm : E, T, P7/ 1 col.

164

Javier Carbajo & Inés Durán (España)

(1994) : 90x70 mm : E, T, P7/ 1 col.

San Luciano (España)

Silueta de la ciudad de Alcalá de Henares.

(1994) : 70x70 mm : E, T, P7/ 2 col.

Pilar de Lezcano (España)

(1995) : 55x100 mm : E, T, P7/ 4 col.

165

Javier G. del Olmo (España)

Goza el olmo cuando los vientos lo agitan:

Ulmus ventis agitari gaudet.

(1995) : 80x80 mm : TM, T, P7/ 2 col.

Georges Herten & Juana Morales (España)

(1996) : 75x95 mm : E, T, P7/ 2 col.

Marià Casas (España)

(2005) : 85: x65 mm : E, P7 / 2 col.

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Libri faciunt labra

LIBRI

... FACIUNT

Libri

LABRA

faciunt labra

JUAN ANTONIO YEVES

EX

LIBRIS

Del Olmo - 14

Juan Antonio Yeves (España)

Libri… faciunt labra.

(2013) : 55x70 mm : TM, T, P7/ 3 col.

Georges Herten (Bélgica)

Exlibris typus est, annos octoginta quattuor

natus – XIII iulius MCMXXIX.

(2013) : 48x88 mm : TM, T, P7/2 col.

Luis Felipe Castresana (España)

Navegando entre bancas de nieve.

(2013) : 95x75 mm : TM, E, T, P7/ 2 col.

Esther Vilas (España)

Con marfil y pergaminos, sedas, madera

y papel hechos estamos; incluso en verano

gusto damos; las manos han de estar quedas,

si es que nuestro oficio usamos.

(2013) : 80x60 mm : TM, T, P7/ 1 color.

167

EDUARDO HENRIQUES D’CASTRO

Ex ‐Libris e Brasões

Biografia

De ascendência portuguesa, holandesa e

de nativos brasileiros. Eduardo Henriques

D´Castro é autenticamente brasileiro e

nordestino com alma portuguesa. Nasceu em

1989 em Campina Grande, Paraíba, Brasil.

Engenheiro Mecânico, recebeu a motivação

pela pesquisa heráldica após revirar sua

própria árvore genealógica iniciada por

primos distantes e guardada por seu pai,

encontrando brasões interessantes de várias

nacionalidades.

Após relacionar ‐se com outros artistas,

motivar a criação de grupos brasileiros de

discussão heráldica e entrar em contato com

artistas estrangeiros começou a desenhar

brasões. Os frutos colhidos foram publicações,

contribuições para instituições católicas e de

ensino, além de inúmeros estudos sobre o

tema e incontáveis brasões para particulares.

Descendente, de um ramo cadete, dos

Oliveira Ledo, é decaneto do 3º Capitão‐

‐mor das Fronteiras dos Espiranhas, Cariris

Ex libris and Coats of Arms

Biography

Of Portuguese and Dutch extraction and

a native Brazilian, Eduardo Henriques

D’Castro is an authentic northeastern

Brazilian with a Portuguese soul. Born in

1989 at Campina Grande, Paraíba, Brazil,

his own genealogical tree was started by a

distant cousin and maintained by his father.

This research proved to be heraldic research

involving many nationalities.

After meeting and talking with several

heraldic artists, D’Castro encouraged the

formation of Brazilian heraldry discussion

groups and began to draw himself. This

resulted in numerous publications and

studies about heraldry and individual coats

of arms.

D’Castro is a cadet branch descendant,

3 rd Capitain mor from Espiranhas, Cariris

and Piancós borders, Teodósio de Oliveira

Ledo. Also from General Governor from

Pernambuco, Henrique Luís Pereira de

Berredo Freire de Andrade, who was his

168

e Piancós, Teodósio de Oliveira Ledo.

Pentaneto do Governador General de

Pernambuco Henrique Luís Pereira de

Berredo Freire de Andrade. Ancestrais dos

quais utiliza as armas esquarteladas.

Suas principais influências artísticas são

Alan Lee, ilustrador de “O senhor dos anéis”,

obra J. R. R. Tolkien, Ir. Paulo Lauchenmayer

O. S. B., e o Professor Victor Hugo Carneiro

Lopes.

great ‐great ‐great ‐grandfather. From these

ancestors came his personal coat of arms.

His principal artistic influences emanate

from Alan Lee, J. R. R. Tolkien, The Lord

of the Rings anthology illustrator, Ir. Paulo

Lauchenmayer O.S.B., and Professor Victor

Hugo Carneiro Lopes.

Ex ‐libris pessoal, com o lema abaixo,

“Defende nos in praelio”, retirado

da oração de São Miguel Arcanjo

escrita pelo Papa Leão XIII (2013).

Armas pessoais de Eduardo Felipe Henriques

D´Castro. Esquartelado de Ledos e Henriques,

filhos bastardos de Henrique Luís Pereira de

Berredo Freire de Andrade, no Brasil.

Como diferença uma meia brica vermelha

com uma flor de lis de ouro (2013).

169

Ex ‐libris de Gonçalo Pereira D’Castro

com imagem de seu solar.

Cariri Paraibano, Brasil (2016).

Ex ‐libris do Prof. Dr. Daniel

Cordeiro de Morais Filho.

Campina Grande, Paraíba,

Brasil (2016).

170

Ex ‐libris do Padre Janildo

Vaz de Medeiros. Ouro Branco,

Alagoas, Brasil (2017).

Ex ‐libris do Padre José Joanees Souza de Oliveira,

pároco da diocese de Monforte,

Portalegre, Portugal. Cavaleiro

da Casa Real Portuguesa (2017).

Ex ‐libris do guitarrista brasileiro

Marcos De Ros. Caxias do Sul,

Rio Grande do Sul, Brasil (2017).

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Ex ‐libris do 2º Barão de São João Marcos, Felipe de Vasconcelos

pela Casa Real Portuguesa. Cavaleiro da Ordem de Malta, da Ordem do Santo Sepulcro,

Conde de São João Marcos pela Casa Real da Geórgia e Cavaleiro da Ordem da Águia.

Sete Lagoas, Minas Gerais, Brasil (2014).

Brasão do Príncipe Imperial do Brasil,

S. A. I. R. Dom Bertrand Maria José

Pio Januário Miguel Gabriel Rafael

Gonzaga de Orléans e Bragança.

Presente dado por ocasião da

visita à capital do Estado da Paraíba,

João Pessoa, São Paulo, Brasil (2015).

172

Brasão da Casa Real Portuguesa,

Interpretação pessoal do artista.

Sintra, Lisboa, Portugal (2015).

Brasão da Ordem Soberana

e Militar Hospitalária de

João de Jerusalém, Rodes

e Malta (2016).

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Brasão da Casa Real de Liechtenstein.

Interpretação pessoal do artista.

Vaduz. Liechtenstein (2016).

Brasão do Padre José Joanees

Souza de Oliveira, Cavaleiro da

Casa Real Portuguesa.

Monforte, Portalegre, Portugal (2017).

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Brasão de Danilo Moreira

Mendes, advogado.

Campina Grande, Paraíba,

Brasil (2015).

Brasão de Mateus Mota Lima,

advogado. Campina Grande,

Paraíba, Brasil (2015).

Brasão de Rafael Alves de Lima,

heraldista. Hortolândia,

São Paulo, Brasil (2016).

175

WEJDAN ALSHAMARY

An artist from Babylon and

her Concise Biography

An artist from Babylon and

Her Concise BiographyBorn in 1986 at the Hilla Region, in the city of

Babylon, Iraq, from 2005 to 2010 I studied at

the College of Fine Art, University of Babylon.

In 2011, I was employed as a teacher at the

same College. In that same year, I joined the

Iraq Artists Syndicate in Babylon.

A year later, in 2012, I became

a member of the Plastic

Society in Babylon, and

from 2011 to 2017, I

had several scholarly

studies published

in such local and

international

journals as Tashkeel

Journal, Babylon

Journal, and

NABO Journal.

I initially drew

paintings of

old Babylonian

figures. Then I

turned to Iraqi

nature in an

impressionist

style or abstract models of Babylonian

women.

Undertaking a master’s degree course, I

studied such traditional graphic techniques

as wood cut, gesso or plaster print, linocut,

monotype, cardboard relief prints, collagraphy,

line engraving, dry point, etching,

aquatint and sugar aquatint. Then, I

turned to digital graphics, fractal

technique, digital collage, and

digital painting. I deduced

a method for combining

traditional and digital

graphics, and merging

historical photographs

of Babylon and the

marshes with digital

techniques by manipulating

images

and converting

them into completely

different

works.

Wejdan

Alshamary

Wejdan Alshamary

176

ABSTRACT

Digital collage technique (2016).

Childhood between wars and destruction,

trying to escape them

but unable to do so.

177

178

THE THREE HEADS

My first ex libris designed for myself. Etching (2015).

The three views that govern Iraq,

one dominant and others are secondary.

LOST CHILDHOOD

Digital collage technique and digital painting (charcoal),

etching (2016). A girl with a flower in her hands is seated in a swing

in the middle of theprison, referring to the darkness of the country.

179

PATRICK AUBERT

Autobiographie

NOTICE BIOGRAPHIQUE

Je suis né le 4 Avril 1958 à Paris, France. Vit

et travaille entre Paris et l’Italie. Depuis mon

enfance, j’aime passionnément le dessin et

la lecture. En 1980, je découvre les cours du

soir de la ville de Paris qui me permettent

de m’initier à la gravure. Roger Marage mon

premier professeur, me communique son

enthousiasme pour ce mode d’expression.

J’y étudie toutes les différentes techniques

de la gravure. Je suis tout de suite conquis

par la gravure pour son coté sensuel et son

mystère, ainsi que son rapport avec le livre

et la littérature, Verlaine n’appelait ‐il pas

certains de ses poèmes des “eaux ‐fortes”.

En 1985, pour changer d’ambiance et

pouvoir découvrir de nouvelles techniques

et traditions de la gravure, je suis parti

pour Florence sur les pas de Jacques

Callot quelques siècles plus tôt. A Florence

j’étudie et dessine pour mon plaisir d’après

les grands maîtres. L’année suivante je suis

rentré dans un atelier de gravure américain

à Florence (Santa Reparata Graphic Center)

et en devient l’un des responsables pendant

plusieurs années (assistant du directeur).

Pendant de nombreuses années J’y ai

enseigné toutes les diverses techniques

de l’estampe pour des écoles d’art venues

du Canada, d’Australie et des États ‐Unis,

je me déplace aussi souvent à l’étranger

pour y enseigner et exposer sur invitation

des écoles ou ateliers de gravures. Ceci

m’a permis de rencontrer de nombreux

collègues/artistes graveurs étrangers

et d’échanger techniques et expériences

diverses, de découvrir avec plaisir de

nombreuses façons de pratiquer l’estampe

d’une culture à l’ autre .

TECHNIQUES UTILISÉES

Mon choix de l’outil et de la technique

est en fonction du thème, du lieu et de

l’état d’esprit, tout cela étant au service

de l’imagination. Au long des années, des

techniques et outils non traditionnels se

sont ajoutés, afin de pouvoir développer

un vocabulaire graphique et visuel plus

riche, les outils traditionnels du début

se sont de plus en plus «mariés» avec les

outils et techniques d’aujourd’hui, donc

fusain, crayon, stylo ‐bille, stylet et palette

graphique de mon ordinateur se marient

très bien pour la création de mes images

de ces dernières années. Depuis une

dizaine d’année, je m’intéresse à toutes les

techniques qui me permettent de diminuer

l’usage des produits toxiques de mon

activité de graveur et enseignant. J’utilise

avec énormément de plaisir mes plaques

polymère (1), qui me permettent avec de

l’eau et du soleil de créer toute sorte d’images

en toute liberté, je peux les continuer au

burin et pointe sèche lorsque je le désire.

Mon choix de travailler de plus en plus

avec les plaques polymère, vient avec mon

intérêt pour la recherche et la pratique

de techniques le moins toxiques possible

et donc le plus accessible pour un grand

nombre, enfant compris. Sans pour cela

participer à la polémique entre «non ‐toxique

et techniques de traditions passées», pour

moi toutes se complètent et ne s’opposent

pas. Printmaker serait l’étiquette que je

préfère, plus que «graveur». Donc comme

«printmaker», je me sent libre d'utiliser

toutes les techniques qui me permettent

de produire des «épreuves» dans toute la

famille des images imprimées, vu que je les

aime toutes... par provocation je pourrais

dire jusqu›au empreintes de mes pas dans

180

PAYSAGE LITTÉRAIRE

Titulaires – Rosalba Dinoia, Andrea Niutta.

Technique – aquatinte, vernismou, burin, pointe sèche.

2003 – 18.5x12 cms.

181

la neige. De plus, grâce à ces nouvelles

techniques je peux «marier» toute mes

passions: le dessin, la photographie, la

gravure et toutes les techniques hybrides

d’estampes que j’aime pratiquer... au soleil

si possible. Lorsque j’utilise mes plaques

photopolymère, je me sens plus proche de

“pictorialistes» comme Demachy, Puyo, ou

bien des estampes cliché ‐verre de Corot ou

Bruno Schulz, Brassaï. Tous ces artistes qui

ont su «dessiné avec la lumière», malgré

la grande différence entre mes images

et les œuvres de ces artistes. Pour moi

l’estampe quelques soit les techniques

employées, photographique ou pas, est un

moyen d’expression et non un moyen de

reproduction... de dessin ou autre... je pense

que c’est à l’artiste de rendre son travail

«original et unique» par la qualité, non par

le nom de la technique utilisée. Il m’arrive

souvent de ne pas faire d’édition de mes

plaques. Dans mon cas, la part du travail

de l’artisan et l’activité «créative» sont

entièrement liée, l’un ne va pas sans l’autre,

j’aime autant imprimer, limer une plaque

ou graver une idée sur une matrice... Toutes

mes plaques sont imprimées à la main sur

ma presse taille ‐douce, par moi ‐même, de

façon «très classique» mais avec beaucoup

de plaisir, sans trucage artistique, pour

moi , l’estampe finale doit être le résultat

précis du travail de la plaque gravée, la

créativité doit être «fixée» dans la plaque...

comme une mémoire, un fantôme... vu que

je voyage souvent loin de ma presse... et

ne fait pas d’édition, mes plaques gravées

doivent me «redonner» l’ image précise

que j’ai gravé... quelque fois plusieurs mois

après leur création, mêmes des années

après les avoir gravé ou imprimé pour la

première fois.

MOTIVATON EX ‐LIBRIS

Mon intérêt pour les ex ‐libris, commence

par mon goût de la lecture et des livres, il se

développa au fil des années en pratiquant

mon métier de graveur. L’ex ‐libris est

devenu pour moi un pont entre le monde

des livres d’artiste et de la gravure. Faire

des ex ‐libris me permet de développer

des sujets de fantaisie différents de mes

images / gravures habituelles (comme

dans le passé : les «Caprices»). Travailler en

petit format est aussi très plaisant et plus

intime, similaire à la musique de chambre...

(en opposition à la culture du poster, et

format «papier peint» de plus en plus en

vogue autours de nous dans le monde de

l›estampe). J’aime aussi faire des images

dédiées à une autre personne qui aime les

livres et la gravure comme moi, et qui peut‐

‐être échangera des épreuves de son ex‐

‐libris avec d’autres amateurs de gravures

et de livres. Je trouve très agréable que ces

petites gravures puissent créer des liens

entre les gens, juste autour du goût commun

de l’estampe, et des livres de par l’échange

qu’ils pratiquent entre eux. J’espère que

cette pratique pourra continuer longtemps

parmi les amateurs de livres et d’estampes.

SUJET IMAGE MOTIVATION

Je travaille généralement par série autour

de thèmes ou une idée. Mais je travaille

en général plusieurs plaques en même

temps de sujets et formats différents, les

séries ou familles d’images naissent au fil

du temps. Le lien de mon goût pour les ex‐

‐libris me vient naturellement des livres.

Je réalise toutes les étapes de création du

livre; de l’idée du départ, à la création des

estampes, l’impression, et la création de la

reliure... Donc le seul «concept artistique»

que je veux cultiver et partager si possible

est : mon plaisir pour l’estampe... Pour la

création des livres c’est pour moi le plaisir

de tous les métiers rassemblés dans un seul

objet...

Mes livres d’artiste sont conçus et réalisés

par moi ‐même, gravure, impression et

reliure et sont la concentration de tout ce

qui me plaît dans la famille de l’estampe:

marier les images gravées et imprimées,

182

le beau papier, l’encre et la littérature,

le travail de conception, création et

réalisations des reliures. Mes livres sont

conçus comme «livres de table» ils se

tiennent debout et ouvert afin de pouvoir

faire profiter de leur contenu et pas cachés

ou coincés sur une étagère, prisonniers en

attente d’un lecteur ...

PATRICK AUBERT

_________

(1) Donc, ce «Polymère» c’est quoi???

Il existe deux principaux «produits», le film photopolymère que l’on applique sur une plaque de métal, et les

plaques de métal ou nylon déjà recouvertes d’une couche de polymère, certains en Amérique les appellent

aussi «Solarplate», la polymérisation est le principe de durcissement à la lumière du soleil (rayon UV), comme les

techniques «cousines» utilisant la gomme bicromatique du type technique Collotype et Héliogravure. La

surface touchée par la lumière du soleil durcie, la partie protégée par le dessin sur calque ou autre document

transparent, se grave à l’eau, à la profondeur désirée. Nous encrons puis imprimons sur presse taille douce,

comme la gravure classique.Donc sans acide, d’où le choix moins toxique, de plus en plus de graveurs pour

cette façon de graver ses plaques, ainsi que les nombreuses possibilités de marier les techniques numériques

via insolation UV (lumière du soleil) de films ou plaques photopolymères avec des images/dessins ou des

lavis sur calques avec les techniques traditionnelles de morsure du métal (pointe sèche, burin, etc.).

Voici des liens pour diverses informations sur ces techniques:

http://www.nontoxicprint.com/publications.htm

htpp://www.solarplate.com/

htpp://agaveprintstudio.com.au/photopolymer ‐prints/

183

EX HEREDITATE

Titulaire – Melissa Miranda.

Compétition, RUSE, Bulgaria.

Technique – gravure polymère,

pointe sèche, burin.

2015 – 13.5x9.5 cms.

EX AMORE

Compétition RUSE, Bulgaria.

Titulaire – Patrick Aubert.

Technique – gravure polymère.

2014 – 11.5x7 cms.

LEDA

Titulaire – Carla Fusi.


2016 – 13x9.5 cms.

184

185

186

ALICE

Titulaire – Solstizio D’Estate. Hommage a Lewis Carroll.

Compétition Bosco Stregato, Italia.

Technique – gravure polymère, pointe sèche, burin.

2016 – 14x10 cms.

EMMA

Titulaire – Elena Samarini.


2012 – 9.5x7 cms.

SIRÈNE

Titulaire – Oya Pekmener.


2014 – 11.5x7 cms.

187

188

ESPRIT DE CRÉAVITÉ

Titulaire – Gaia Sammarini.


2015 – 12.5x10 cms.

CHUTE DE LANGE

Titulaire Roberta Buresta.

Technique vernis mou, burin, pointe

sèche, aquatinte.

2003 9.5x14.5 cms.

189

190

AUGURI

Titulaire Grazia et Antonio Rollo.

Technique gravure polymère.

2012 11x11 cms.

INDEX

Prof. Hasip Pektas 5/11

Isik University

Faculty of Fine Arts

Visual communication

Design Department

Buyukdere Cad. 194

TR – 34398 Istinye Sariyer, Istanbul

Turkey

E ‐mail: hasipp@ttmail.com

Website: www.hasippektas.com

Yulia Protsyshyn 12/19

Pr. Chervonoi Kalyny, 58/32

79070 Lviv

Ukraine

E ‐mail: yulia.protsyshyn@gmail.com

Website: www.facebook.com/julia.protsyshyn

Murat Ertürk 20/23

Sakarya Universitesi Guzel

Sanatlar Fakultesi

Serdivan, Sakarya

Turkey

E ‐mail: contact@muraterturk.com

Website: www.muraterturk.com

Deborah Chapman 24/25

Atelier le Nautile

4060 Boul. Saint ‐Laurent, loft 404

Montréal H2W1Y9 Québec

Canada

E ‐mail: dluluchapman@hot mail.com

Igor Baranov 26/35

Stacheck Prospect 67/6, Ap. 587

198096 St. Petersburg

Russia

E ‐mail: baranov.i.arts@mail.ru

Nina Kazimova 36/47

Nalichnaya str. 36 – 3, Ap. 291

199226 St. Petersburg

Russia

Email: nukazim@yandex.ru

Alexandr Ulybin 48/55

St. Soleyko, 5 – 14, Telmy 1

225003 Brest

Belarus

E ‐mail: ulybin@tut.by

Website: www.ulybin.brest.by

Nazan Sönmez 56/65

Huzur mah. Çamlik Cad. No. 7, Kat:4

Seyrantepe – Sanyer

34396 Istanbul

Turkey

E ‐mail: nazansonmez1111@gmail.com

Elena Felicia Selejan 66/75

Str. Comeliu Baba, 12

300531 – Timisoara, Jud. Timis

Romania

E ‐mail: selfelena@yahoo.com

Website: www.uapt. cjtimis.ro/

Joanna Budzynska ‐Sycz 76/83

AI. Sprzymierzonych, 86

82 ‐200 Malbork

Poland

Email: j.m.a.budzynska@gmail.com

Website: www.facebook.com

Betül Uras 84/89

Kivanç Sokak. Ali Kamil, Ap. 4 ‐B D:9

34365 Nisantasi

Turkey

E ‐mail : betuluras1@yahoo.com

Yaroslav Makarov 90/95

Malechkino, Ptitsevodov 19 ‐14

162691 Vologda Region,

Cherepovets District

Russia

E ‐mail: jaroslove_mak@mail.ru

Tamás Havasi 96/99

Szentvér str. 9

4300 Nyírbátor

Hungary

E ‐mail: havasit@gmail.com

Workplace: www.nye.hu/vizkult/node/22

191

Nurten Erdogan 100/109

Postane Mah. Celik Sok.

Deniz Evleri Sitesi 3/5

Tuzla / Istanbul

Turkey

E ‐mail: nurten.erdogan@gmail.com

Obiora Obieze 110/117

40c Ugwunobamkpa Road

P. O. B. 13939

430234 Onitsha, Anambra State

Nigeria

E ‐mail: obyzed@hotmail.com

Suggur Kars Sahin 118/125

Çamlica Cad. Çamlica sit. A 102/5

81210 Beylerbeyi – Istanbul

Turkey

E ‐mail: suggur@mynet.com

Website: www.susanatevi.org

José Salvador Antúnez Caracena 126/131

Calle El Cid, 13 ‐4ºC

28220 Majadahonda, Madrid

España

E ‐mail: jantunez@3antunezc.com

Website: www.3antunezc.com

Ewelina Rivillo 132/137

Ul. Wojska Polskiego, 1

43 ‐330 Wilamowice

Poland

E ‐mail: ewelina.rivillo@gmail.com

Website: www.rivillo.pl

Website: www.ewelinarivillo.tumbir.com

Website: www.behance.net/o_rivillo

Dilara Oktar Gürses 138/147

Erenköy, Ethemefendi Caddesi,

Haci Hakki Bey Sokak,

Aksu Apt. No. 29 D 5 Kadiköy

34738 Istanbul

Turkey

E ‐mail: gurses.dilara@gmail.com

Boris Tkachenko 148/153

Aitiyeva str. 29 ‐3

080012 Taraz

Kazakhstan

Iram Wani 154/161

Street 59, House no. 70

F_ 11/4

44000 Islamabad

Pakistan

E ‐mail: iram12274@gmail.com

Javier García del Olmo 162/167

Claudio Coello, 74 – bajo A

28001 Madrid

España

E ‐mail: javier@delolmo.e.telefonica.net

estudio@delolmo.e.telefonica.net

Eduardo Henriques D’Castro 168/175

Rua Sebastião Vieira da Silva, 440, Catole

58410 ‐407 Campina Grande, Paraíba

Brasil

E ‐mail: eduardofelipc@gmail.com

Website: www.eduardodecastro.vai.la

Wejdan Najah Alshamary 176/179

University of Babylon

Faculty of Fine Arts

Department of Fine Arts

Graphics

TR – 51002 Karama, Babylon

Iraq

E ‐mail: wejdanalshamary000@gmail.com

Patrick Aubert 180/190

26, Rue de Trianon

78150 Le Chesnay

France

E‐mail: pa_aubert@hotmail.com

192

Miranda Book

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