Untitled

This untitled mokuhanga belongs to Fisher's Toledo-based practice in water-based woodblock printing. The mokuhanga workflow remains essentially the one used in the Edo period: a key block carved first, color blocks aligned to it via kentō registration, water-based pigments brushed onto each block, and a baren used to press washi paper against the inked surface. What contemporary practitioners like Fisher bring to this inherited workflow is a different visual repertoire — frequently abstract, often working at scales and in formats unfamiliar to nineteenth-century printmakers. Toledo's craft history, anchored by its glass industry, sits in suggestive parallel with mokuhanga's demands on material attentiveness: the moisture of paper, the temperature of the studio, the wear of the cutting tools. Fisher's ongoing untitled run fits squarely within this contemporary American adaptation of the medium, where the technical lineage is honored even as genre categories like kacho-e or meisho-e fall away.