Almost There

This abstract woodblock print takes its title from the language of process and approach — a condition of nearness rather than arrival. Rome's work frequently concerns itself with the threshold states that the mokuhanga process itself embodies: the moment before pigment fully saturates the [washi](/glossary/washi), the transition between one carved layer and the next. The composition likely uses asymmetric balance and directional mark-making that implies movement toward a destination or resolution not fully achieved. As the first of two prints sharing this title, it establishes a formal or chromatic premise that the second work revises or extends.