preservation spitzack woodblock woodcut mokuhanga print printmaking washi seattle art

The second print in the Preservation series continues Spitzack's exploration of the theme through woodblock variation. In multi-print series, mokuhanga artists often hold the same set of carved blocks while varying registration, color choice, or the order of impressions, producing related works that reveal the medium's responsiveness to subtle adjustment. The water-based pigments and [washi](/glossary/washi) paper of mokuhanga produce a different visual register than oil-based Western printmaking — colors sit within the fibers rather than on top, allowing layers to interact optically without becoming muddy. The Seattle-based artist's sustained practice within the medium reflects the growing North American mokuhanga community that has formed around printmaking schools, residencies in Japan, and conferences like the one in Echizen where Spitzack received recognition. Each iteration in the series functions both as a standalone work and as part of a sustained meditation on what preservation requires.