Ram Samoch - 3D Metalpoint Works. Interview by Asano Saki.

AS: First, this is a basic question, when was the first time you used metalpoint and what made you interested in metalpoint? 

RS: I was familiar with this drawing technique, as it was used by the old masters. However, I first experimented with metalpoint only after graduating from my MFA program in Canada in 2009. One day, I accidentally came across a silverpoint drawing stick in an art store. After learning more about its capabilities, I decided to take it back to my studio and conduct some experiments. This led me to create my first series of silverpoint drawings on prepared paper.

AS: And why do you choose metalpoint in the modern era?

RS: I was excited to discover an alternative to drawing with graphite, which is so widely used today. What fascinates me about metalpoint is the permanence of its marks - it is very difficult to erase, requiring a higher level of concentration and intention when making each stroke. There is no way back, no way to undo a mark once it is on the paper, which makes the drawing process more deliberate. This approach is entirely different from what we were taught in art school, and I appreciate it for that reason. Also, my great-grandfather was a metalsmith, so in a way, I feel like I am continuing his legacy by working with metal in a different, modern way.

AS: You describe yourself, as a multidisciplinary artist in your profile, is there a difference in expressiveness between various media and metalpoint?

RS: Yes, absolutely. As a performance artist, I focus on the process, and metalpoint aligns with this approach because the work is constantly evolving. The different metals used in metalpoint can oxidize over time, subtly altering the colour of the original lines. Additionally, drawing with metal slows down the process, making it more physical and deeply connected to the body - an aspect I find particularly engaging.

AS: Compared to the typical metalpoint style, your works are three-dimensional and really impact. Can you tell me the source of that idea?

RS: In my work, I often blend modern and traditional drawing techniques while exploring new ways to bridge two and three-dimensional forms. It felt natural to push the boundaries of such an old and traditional technique, finding innovative ways to work with metalpoint. I also enjoy merging figurative and abstract elements, creating a unique visual language that expands the possibilities of this medium.

AS: You are drawing on stone paper (TerraSkin − I couldn't find a seller in Japan), but how did you notice that the lines appear 3D?

RS: Around the same time I discovered silverpoint, I also came across stone paper in a different art store. This paper, made from compressed limestone dust without any water content, turned out to be an excellent surface for metalpoint drawing. As a performance artist, I am always driven to explore the boundaries of materials and techniques. While experimenting with stone paper, I noticed that prolonged drawing and the heat generated by my marks caused the paper to stretch and distort. This unexpected reaction led me to develop and refine my unique technique. Over time, I further expanded on this approach by incorporating a drill into my metalpoint work on stone paper.

AS: If possible, please tell me your favourite metal as a metalpoint and the reason why.

RS: I often work with silver and silver solder because they create bold lines and do not change colour drastically over time. However, I also enjoy working with gold, as it produces delicate, shiny light gray marks that add a unique subtlety to the drawing.

AS: How do you store completed metal point works? I often struggle with the copper lines becoming faint.

RS: Storing metalpoint works, especially three-dimensional ones, is always a challenge. Yes, copper and brass lines can fade over time, but I sometimes embrace these natural changes in the drawings. In some cases, I even revisit older works, reworking them in new ways to give them a fresh perspective.

Asano Saki is an artist and a graduate student at the University of Tsukuba, Japan. He is conducting research on metalpoint techniques at The Art Doctoral Programs, Graduate School of Comprehensive Human Sciences, University of Tsukuba, Japan.

Ram Samocha is a multidisciplinary artist, presently residing in Brighton, UK. He holds an M.F.A from the University of Waterloo, Canada. Samocha’s work is part of various museum and private collections and has been shown in the United Kingdom, Israel, Italy, Germany, the Netherlands, Mexico, Canada and the United States.