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In the 17th, 18th and 19th centuries, the Japanese and Chinese cultures artfully depicted glimpses of daily life in woodcut prints called ukiyo-e (pictures of the floating world). In the 20th century, M.C. Escher showed the interconnectedness of all things in his woodcut "Sky and Water I, 1938," by the shifting of ground and figure. Today, there are artists who continue to make woodcut prints — some of them abstract, some reflecting nature, some colored and some not.

In Fairfield, Iowa, of all places, there is an artist by the name of John Schirmer who has taken up the craft of woodcarving and moved it into the genre of woodcut prints, prints which seem to depict still frames of everyday 21st century life in the Western world. The prints are humorous and contemplative, colorful and whimsical. I talked with John in order to gain insight into this particular artform, to have him carve out a bit of his life's work, if you will. Because woodcarving is one thing — drawing, painting, and printing are yet another.

TM: Hi John. I have enjoyed your work since I first started seeing you at art fairs. What was it that interested you in wood carving, and later moved you to create woodcut prints?

JS: It was in Berkeley, California that I became interested in woodcarving and rekindled a life-long interest in art. After viewing a life-size sculpture of St. Joseph and the Christ Child carved in the 15th century, I knew I needed to try my hand at carving wood. I later moved to Northern Michigan where I carved wooden signs for homes, cottages and businesses. I had a feel for carving wood from the start; however, my ability to draw, compose and paint took time to grow. During this period I had carvings that ended up in five foreign countries, and I spent a year carving for the furniture industry in Grand Rapids, Michigan. I came to woodblock printmaking as a natural extension of the carving process. I simply looked at woodcuts that came before and I said: I can do this. My first print was ten blocks (a block for each color) and the registration was perfect.

TM: When you say you looked at woodcuts that came before, what exactly inspired you? Do you have a background in art education?

JS: I was influenced by both Western expressionist woodcuts as well as the Eastern Japanese woodblock prints, especially Hiroshige. I graduated from Western Michigan University with a degree in sociology and I worked in a home for emotionally disturbed children in Berkeley. (I was a conscientious objector working in a non-profit organization for two years in lieu of military service.)

While there, I befriended a Japanese boy who was psychotic, but to me, much fun and a great friend. In appreciation for our friendship, his mother gave me a lovely book of Hiroshige woodcuts. The thing I liked best about the images were the brilliant colors. I think it was at this time that I really started to have a strong desire to make prints. Hiroshige meant, for me, the inspiration of a friend who was handicapped in one way, and yet full of the love of life all the same. At the same time, Hiroshige from the past was urging me to just get started--bridge cultures, bridge states of mind, bridge traditions, and find a style to add to the art of the world--take from the past and give to the future.

TM: Inspiration comes in many forms, and many people feel that initial "jolt," but few follow through. What were some of your obstacles, and what moved you through these?

JS: After inspiration, it is time to get down to business. Everything was going well, except my drawing and composition. The drawing was stiff, the composition was unremarkable.

I had no style . . . how do I develop a style? What do I want to say? How do I make a living doing it? To answer these questions, I come to a lecture I gave to a high school art class: To develop as an artist, first develop as a person. To make great art, be a great person. Grow your soul and the art will follow.

I'm still trying to take my own advice and I have seen good progress.

TM: You are living in a community that would seem to be the center for inspiration and soulful growth. Fairfield is home to the Maharishi University of Management, a University where the goal is to serve as the model for ideal education through the practice of Transcendental Meditation. Was this a draw for you as an artist?

JS: I moved to Fairfield in 1985 to raise my daughter in a small town and to be with like-minded people who enjoyed meditation. I feel as though Transcendental Meditation helped me move from the beer garden to the vegetable garden, and for that reason, I thought the meditation community in Fairfield would be a good environment to raise a family, not to mention the wholesome goodness of small-town Iowa itself. I feel my gamble of moving to Iowa has paid off nicely.

My daughter has grown into a brilliant young woman, creativity has grown unencumbered, and my life is full of peace and harmony with an occasional twister thrown in for spice.

TM: Themes of peace and harmony appear in your prints, as well as whimsy and irony. Your characters are strong and identifiable. What accounts for new images/themes in your work?

JS: The images I create are standing behind the door of creativity. I simply open the door and see what's there. Many times the images are funny because I love all things humorous. I just visited my birth town, and in that nurturing environment, I came up with ideas for new work that I am very excited about.

TM: Your good-natured images are deceptive in relation to the apparent time and effort gone into each print.

JS: My technique has developed to take advantage of my love for painting as well as printmaking. It takes anywhere from 8 to 15 hours to carve a block, and depending on the complexity, it may take a half hour to an hour to paint it. I color Italian rag paper using watercolor and gouache. It should be understood that these prints are original prints — each one is hand painted and hand colored.

TM: You indicated that one of your initial concerns with your art was how to make a living doing it. What sort of market value approach does an artist such as yourself utilize in pricing your work? Are you in a niche of your own, considering your subject matter, or is there an underlying competitive sense regarding marketability?

JS: I price the work according to what the market will bear and also what is comparable with other printmakers. Prints are traditionally lower in cost than, let's say paintings, because they are sold in limited editions. I don't think in terms of competing with other artists because I feel the pie is big enough for everyone. If there is a competition, it is within myself. I want each print to be relevant to most people and I want each print to be perfectly printed and painted. I feel, if I give one hundred percent, all details will take care of themselves. I sell mostly at art fairs throughout the Midwest.

I have also been doing business through my web page which I am very happy with. It allows me to serve my customer better by being available, as they say, 24/7. My page also has other work that people may find interesting . . .