Untitled

Numbered eleventh in the catalogued sequence of untitled mokuhanga from Fisher's Toledo practice, this print exemplifies the workflow demanded by water-based woodblock printing. Each color requires its own carved block and its own pass through the kentō registration system, with hours of preparation behind every impression. The water-based pigments penetrate the [washi](/glossary/washi) rather than sitting on its surface, producing a softness Fisher and other contemporary mokuhanga artists choose over the dense opacity of Western relief inks. The American mokuhanga community to which Fisher belongs includes artists working from Brooklyn lofts to rural studios, all converging on a centuries-old Japanese workshop method. Untitled status is consistent across much of Fisher's catalogued output, suggesting a deliberate authorial stance rather than incidental omission — an echo of the postwar sōsaku-hanga ethos in which the artist carries every stage of the work, from drawing through carving and printing.