Untitled

An untitled mokuhanga by Hodaka Yoshida indicates a composition the artist chose to leave unanchored to subject — typical of his abstract work from the 1960s onward, when he set aside the descriptive titles his father Hiroshi favored for landscape prints. Expect a layered field of geometric or biomorphic shapes printed from multiple woodblocks onto [kozo](/glossary/kozo) [washi](/glossary/washi), with attention to the relationship between flat color blocks, residual wood grain, and the white of the unprinted paper. Hodaka often combined hand-cut blocks with photo-etched zinc plates in this period, producing prints in which mechanical and handcrafted marks share a single sheet; whether or not that technique is present here, the formal strategies — overlapping rectangles, color contrast, and meticulous [baren](/glossary/baren)-pressed registration — derive from it. Untitled sheets sit at the experimental edge of his output, alongside the more recognizable architectural and Mexican-influenced series, and document the family studio's shift from representational landscape to international modernism within a single generation.