Deng Mng-Dao


This desire to avoid human emotion dovetailed with my discovery of printmaking. I found that printmaking meant that the gesture of the human hand was sublimated. The accidents and quirks of the hand were smoothed and disciplined by the process itself.

Even in my watercolors, I became interested in large expanses of wash—again trying to get away from the painterly strokes of both the hobbyist painter who has learned to load a brush with several colors to get easy color chords in each stroke, as well as the heroic expressionist battling the canvas with slashing swings of the brush.

The times when I make art are moments completely free of doubt. I am fully engaged in it, connected with something powerful, mysterious, and vital. That some object—a painting or a print—emerges from that process, or that being an artist nowadays requires something akin to producing an identifiable and popular product and a lucrative brand, is quite secondary. For me, the connection and total surety are supreme. 

Spring Trees, ink on paper, 2004, 8.5 x 11"
White Ribbon, ink on paper, 2004, 8.5 x 11"
Ancient Pine, ink on paper, 2004, 8.5 x 13"
White Mountains, ink on paper, 2004, 8.5 x 11"
Incoming Tide, ink on paper, 2004, 8.5 x 13.5"
Monterey, ink on paper, 2004, 8.5 x 11"
The Way of Night, woodcut, 1973, 12x18"
Like a Diamond Sparkling in the Sand, woodcut, 1973, 12x18"
Pier, woodcut, 1973, 11.25 x 14.75"