Everywhere and Everywhen

The title evokes spatial-temporal omnipresence. Gold leaf in etching creates light-bearing passages — applied as gilded inclusions over or alongside the bitten plate, the leaf catches light differently from the matte etched line. In Akino's practice, gold and silver leaf reference Japanese decorative traditions (the gilded grounds of Rinpa screen painting and Buddhist altarpieces) while operating on copper-plate matrices belonging to the European intaglio tradition. The phrase suggests a non-located vista or a meditative field rather than a topographic site, placing this print closer to her abstract/meditative register than to her named landscapes of the Cooley Peninsula or the Atlantic islands. Compositionally one would expect a layered field of bitten tone interspersed with reserved or burnished areas, the gold leaf functioning as a register of light or presence rather than as ornament. The work belongs to a 2024 group in which Akino's titles take on philosophical and contemplative weight, situating Irish landscape memory inside questions of duration and continuity.