Untitled

This untitled mokuhanga print continues Wozniak's investigation of gesture, surface, and the trace of the hand. Unlike the bright [nishiki-e](/glossary/nishiki-e) of the Edo tradition, contemporary mokuhanga practitioners working in research contexts tend to use restrained palettes — often a small number of related tones, or single-colour printings that foreground the carved surface itself. Wozniak's prints typically belong to this restrained register, with the [washi](/glossary/washi)'s own colour and texture functioning as an active element rather than a neutral ground. The Nagashizuki papermaking method he studied in Japan produces sheets with a directional fibre lay that affects how pigment settles and migrates after printing, and this paper-borne variation contributes to the distinctive surface of his work. As head of the printmaking studio at the University of Warmia and Mazury, Wozniak's sustained body of untitled mokuhanga prints constitutes a research archive — a record of process variations explored across many impressions rather than a sequence of finished pictorial statements.