Untitled

Without a title to anchor interpretation, this print stands as an exercise in mokuhanga technique. Fisher applies water-based pigments mixed with rice paste, or nori, to hand-carved blocks, transferring the image to dampened [washi](/glossary/washi) with hand pressure from a [baren](/glossary/baren). The resulting impression preserves subtle traces of the carving — block edges, the grain of cherry or shina wood, slight variations in saturation where moisture distributed unevenly. Contemporary American mokuhanga practitioners in Fisher's lineage frequently produce untitled work as a way of foregrounding process over subject, an approach inherited in part from the Sōsaku Hanga or creative-print movement, in which Japanese artists from the early twentieth century onward emphasized the artist's full authorship from carving through printing. Working from Toledo, Ohio, Fisher belongs to a growing American cohort that has adopted the technique through workshops, residencies, and informal apprenticeships rather than through traditional Japanese print-shop training. The untitled designation in his catalogue is consistent with this orientation.