Untitled

Without titular guidance, this print reads as an example of Fisher's mokuhanga technique itself: water-based pigments brushed onto hand-carved cherry or shina blocks, transferred to dampened washi with the circular pressure of a baren held in the palm. The medium descriptor places the work within the Japanese tradition rather than Western letterpress relief printing — a meaningful distinction given that the two methods produce visibly different surfaces, with mokuhanga's pigments soaking into the paper fibers rather than sitting on top. Multiple blocks contribute to the finished image, registered to one another via kentō marks carved into the wood. Fisher works from Toledo, Ohio, part of a growing constellation of American mokuhanga practitioners who learned the technique through workshops at the Awagami Factory, the Mokuhanga Innovation Laboratory, or with North American teachers such as April Vollmer. His untitled prints reflect the studio orientation of this community, where each pull is treated as a discrete conversation between material and intention.