Untitled

Australian engagement with mokuhanga has grown over the past three decades through residencies, conferences, and a small network of practitioners, and Lee's work sits within that emerging tradition. The technique was carried into Australia in part through individual artists who studied in Japan and through institutions like the Australian Print Workshop and Northern Editions, where Lee herself trained and later worked as an editioning printer. Her Kuranda studio in tropical north Queensland places her at considerable physical remove from the Japanese centers of mokuhanga production, and contemporary makers in this position must source [kozo](/glossary/kozo) [washi](/glossary/washi), nori paste, and traditional pigments through international channels. This untitled print would have been produced with that supply chain in the background — the materials are not local but the imagery and approach are. Lee's broader commitment to print as a flexible, experimental medium, rather than a conservative reproduction technique, is consistent with the way mokuhanga has been adopted internationally outside its original cultural context.