Almost There

A companion to Rome's earlier "Almost There," this second woodblock print returns to the same conceptual territory — proximity, anticipation, a state of near-completion — with what appears to be a different compositional or chromatic resolution. The iterative relationship between the two works reflects a practice common among mokuhanga artists of working through a subject in multiple editions, with each impression informed by the technical and conceptual findings of its predecessor. Differences in pigment density, block carving, or washi selection between the two prints materially enact the theme of incremental approach that both titles invoke.