Untitled

Part of a sustained body of untitled works produced after Wozniak's 2018 study period in Tokyo, this woodblock print foregrounds the relationship between block, pigment, and handmade paper that defines mokuhanga as a material practice. The artist's parallel research into Nagashizuki—the Japanese sheet-forming method in which long fibers are suspended in neri to produce flexible, dimensionally stable [washi](/glossary/washi)—often informs the choice of support in his prints, with surface texture and absorbency contributing as actively to the image as the carved block itself. Water-based pigment applied with brush and printed with a [baren](/glossary/baren) produces the matte finish and grain-revealing tonal layering associated with the medium, distinct from the saturated ink film of oil-based relief. As an educator who heads a planographic studio specializing in stone and aluminium lithography, Wozniak's mokuhanga work represents a deliberate reach across print families, situating Japanese woodblock methods within a Polish university curriculum that has historically emphasized lithographic and intaglio traditions.