As Cedar Lewisohn himself admits, it’s hard to place a timeframe on his huge woodblock images. One piece in his Plywood Transmission series is composed of a medieval knight, brandishing a sword and shield surrounded by unintelligible runic symbols, and we could be looking at an extract from the Bayeux Tapestry (were it not so enormous). Another, this time a completed print on paper with spray paint and ink, takes us to some obscure ceremony at the court of an ancient ruler – perhaps Egyptian, or Mesopotamian. Again the rudimentary style, achieved by hand with a router and woodworking tools in a purposely analogue process, is perfectly in sync with the scene.
Both the paper prints and the wood blocks used to create the Plywood Transmission works are integral parts of the collection; the overwhelming size of Lewisohn’s ply woodcuts is not just as a result of the production techniques, but rather an effort to give the exhibition a sense of theatre. They are also as visually important to the viewing experience as a whole as the completed prints. Rebecca Lidert came across the startling collection in a disused East London office block, and the Cock ‘n’ Bull director has now given them pride of place at the Rivington Street gallery where they are able to view until 9 January.
Cedar Lewisohn
Untitled (Mesopotamian and Egyptian Gods), 2013
Hand Pressed Woodcut on paper with spray paint and ink
approx. 8ft 3
Cedar Lewisohn Studio
Photo, Romy Finke
Cedar Lewisohn
Untitled (Caveman), 2013
Hand Pressed Woodcut on paper with spray paint and ink
approx. 1524 cm x 1219 cm
Cedar Lewisohn Studio
Photo, Romy Finke
Cedar Lewisohn
Untitled (Paris night), 2012
Hand Pressed Woodcut on paper with spray paint and ink
approx. 1524 cm x 1219 cm
Cedar Lewisohn Studio
Photo, Romy Finke
Cedar Lewisohn
Courtesy, Cock ‘n’ Bull, London
