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*Please note, this artwork is being represented directly from Tanisha's studio in Germany and therefore deliveries to all addresses are stated as 10 working days from purchase. Import taxes may be applicable to different destinations and if so will be charged via customs on import, they are not included within the purchase price however the delivery costs to any worldwide destination is. If you would like to check on delivery timings or would like help finding out about import tax, don't hesitate to get in touch.*




Woodcut on MDF panel with Sumi Ink

H. 50 x w. 50 cm


"This work is about exploring the organic. The fluid lines of each circle and the simple strokes that draw you into the centre circle. I find that these works without any colour, only the sumi ink, give me the feeling that I’m entering a different dimension. In this dimension, we are far more connected to the earth. With each circle, I wanted to create a parallel to tree rings, and slowly bring the viewer into my magical new world."



About Tanisha Raj

Tanisha Raj grew up between London and Hong Kong. She is of Indian ethnicity and lives in Berlin. Tanisha began creating woodcut art at university, in the USA, where she co-majored in Business and Art History & Visual Arts. For many years, creating art was a hobby alongside a career in Management Consulting at Boston Consulting Group. This year, Tanisha decided to take the leap towards creating art full time. However, the harmony between Strategy and Creativity still grounds Tanisha in every step of her career. 


When Tanisha first experienced Printmaking almost 12 years ago, she quickly realised that she was more inspired by the wood as her canvas, rather than the printing process. Introducing Sumi Ink and Acrylic to the MDF opened up a new door. Playing with the textures that make up a cell membrane slowly fed into a polarising series with sharp lines and geometric shapes. 



Artist Q&A

Where did your relationship with art begin? 

T: My relationship with art really took shape during a summer school program in New Hampshire, USA when I was 16 years old. I enrolled in a printmaking course. I remember carving an image of an antique camera into wood and running it through the printing press multiple times. However, at the end of the program, I took home the original woodcut and none of my prints. 


When did you first start using wood as the canvas?

Fast forward a few years from the summer Printmaking program, I was in University co-majoring in Business and Art History & Visual Arts. For our final semester in the program, each student had to develop a series of work for an exhibition. I wanted one of my pieces to be related to printmaking, but at the same time I didn’t enjoy the printing stage. It always hurt to roll ink all over my woodcut and “ruin” the work. And honestly, I wasn’t very good at layering colours and creating more complex prints.


When researching ideas I came across a video of an artist that would paint his wood in sumi ink first so he could better visualise his final print and the detail he needed to carve. I found this interesting as it was a way for me to create something that looked like a print while retaining the wood I loved so much. Essentially, the printmaking process in reverse. Over the years, I began to add colour with paint and my style evolved.


Do you plan each piece in advance or do they develop intuitively? 

T: I am definitely an intuitive artist. Sometimes, if I’m facing a bit of a block, I try to sketch out a few rough compositions on paper first. But, even in these situations, what I end up with on the wood is often quite different. Of course, some element of planning is required for certain pieces that are very geometric and need precision in measuring. However, when it comes to the painting and carving stage, I try listen to my gut.

Portal to another dimensions | 50 x 50 cm | By Tanisha Raj

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