Untitled

Mankiewicz's practice operates between Kyoto and Byron Bay, with earlier residencies in France, the United Kingdom, and the United States feeding into his approach. This untitled mokuhanga emerges from that geographic dispersal: the medium itself is rooted in Japanese craft tradition, but his audience and exhibition contexts span Australia and Europe. Contemporary mokuhanga has become an internationalised practice over recent decades, with non-Japanese artists trained in Kyoto, Tokyo, and elsewhere extending the medium beyond its historical contexts. Mankiewicz's case is characteristic of this shift: he trained in Kyoto, incorporated mokuhanga into a broader illustration practice carried out across countries, and continues to produce prints from a base in Australia. The work is therefore Japanese in technique and partly in lineage, but cosmopolitan in its conditions of production and display.