Norio Azuma: Master of Serigraphy and Keeper of an Ancient Artistic Tradition

The document presented by Percival Galleries, Inc. offers a compelling window into the remarkable craftsmanship and cultural depth embodied in the works of Norio Azuma. Positioned as a serious practitioner of serigraphy, Azuma elevates the medium far beyond commercial screen-printing, restoring it to its historical lineage as a refined, artist-driven process. His work stands at the intersection of traditional Asian stencil art and modern Western printmaking, making him a rare and significant figure in contemporary art.

The description of serigraphy included in the gallery’s presentation draws heavily from authoritative sources, underscoring the medium’s ancient origins. As early as A.D. 500, stencil printing flourished in China and Japan. By A.D. 700, Japanese screens with intricate stenciled designs—some preserved at Harvard University—demonstrate the sophistication of the technique. The evolution of stencil methods in Europe further reveals the transcontinental journey of this tradition, with playing cards and religious prints of the 15th century bearing early European stencil coloration. This rich historical context situates Azuma not simply as a technician of serigraphy but as a modern inheritor of a thousand-year lineage.

Yet Azuma’s practice moves beyond history. What distinguishes him is the very high state of refinement he brings to serigraphy on canvas. According to the gallery notes, Azuma employs an astonishing 18 to 25 screens for a single print—an immense and meticulous process that few artists undertake. This commitment results in prints of exceptional depth, subtlety, and tonal complexity. Each color requires its own stencil and screen, and the layered interaction of pigment produces surfaces alive with nuance and emotional resonance.

The gallery emphasizes that Azuma’s prints are strictly artist-made, reinforcing their exclusivity and craftsmanship. Every edition is numbered and limited. Once an edition is complete, the screens are destroyed, guaranteeing the permanence of scarcity and the integrity of each series. This practice elevates Azuma’s works into rarefied territory, emphasizing their long-term value and uniqueness—characteristics highly sought after by serious collectors.

What is particularly compelling is how Azuma’s Japanese heritage plays a meaningful role in his artistic identity. The gallery notes describe serigraphy as a “fine print process of Oriental origin,” making it fitting that Azuma, as an artist of Japanese origin, would bring the medium to such a high state. This connection positions him not only as a master of technique but also as a culturally significant figure bridging Eastern traditions and Western art markets.

The invitation’s tone conveys genuine respect for Azuma’s craft. By providing detailed historical background and quoting scholarly sources, Percival Galleries makes clear that Norio Azuma’s work is to be understood within a lineage of art that spans civilizations. The presentation of his serigraphs—carefully made, technically demanding, and culturally resonant—affirms his position as a distinguished printmaker whose work deserves critical attention and continued appreciation.