Untitled

This second untitled mokuhanga continues Fujiwara's habit of leaving certain works uncaptioned, releasing the carved and printed image from the obligation to identify a specific location or narrative. Within his practice the absence of a title does not signal abstraction: travel photographs and direct field observation across Japan and Australia remain the source material, with drawing serving as the intermediate stage before transfer to woodblock. The technical signature of mokuhanga remains visible in the surface—pigment carried into the fibers of the washi by hand impression with a baren rather than sitting on top as oil-based relief inks would, and registration handled by carved kentō marks at the corner and edge of each block. Working from a Tokyo studio, Fujiwara contributes to the contemporary mokuhanga revival anchored around independent printmakers, workshops, and international exchange portfolios that have re-established the technique outside its historical ukiyo-e publishing system. The sheet reads as one entry in his ongoing visual diary of landscapes, interiors, and incidental scenes drawn from both halves of his cultural inheritance.