Untitled

This untitled print sits within Wozniak's engagement with mokuhanga as a contemporary international medium rather than a purely historical Japanese form. The post-1990 mokuhanga revival, accelerated by initiatives such as the Mokuhanga International Conference and MI-LAB, has produced a global network of printmakers using key-block carving, water-based pigments, and [baren](/glossary/baren) burnishing on [washi](/glossary/washi) outside the [ukiyo-e](/glossary/ukiyo-e) lineage. Wozniak's work in this idiom, dating from his 2018 visiting research at the Tokyo University of the Arts, applies the technique to compositions concerned less with depicted subject—evident in the absence of a descriptive title—than with the registration of carved gesture and the layered transparency that mokuhanga's pigment-and-paper interaction permits. The image likely incorporates the soft tonal transitions of [bokashi](/glossary/bokashi), achieved by graduating pigment density on the block before printing, and the textural specificity of hand-burnished impressions where pressure variation registers as visible tonal modulation. The work extends his research into the transposition of gesture in woodcut within a tradition adapted to a Polish academic context.