Untitled

Fourteenth in the catalogued sequence of Fisher's untitled mokuhanga, this print issues from his Toledo studio and the constraints of water-based woodblock printing. Each impression requires the printer to apply pigment with a hake brush, mist or dampen the [washi](/glossary/washi) to a working moisture, register the sheet against kentō notches carved into the block, and press with a [baren](/glossary/baren) to transfer the image. Repeated for every color, this workflow can absorb a full day per edition. Fisher's geographic position — in a Midwestern industrial city rather than a coastal art capital — places him within a dispersed American mokuhanga network whose members often discover the technique through workshops or residencies in Japan and at gatherings like the Mokuhanga Conference. The decision to withhold descriptive titles places the burden of meaning on the print's own visual qualities rather than on a verbal frame, a shift in authorial posture from Edo-period publishing toward studio-printmaking conventions.