Untitled

A second sheet from the Mokumap series, this untitled work continues Maurstig's investigation of map-like surfaces produced through woodblock registration. Mokuhanga's reliance on the kentō registration system suits compositions where multiple blocks must align to build up overlapping fields, a structural parallel to map layers showing terrain, water, and human marking. The use of nori-mixed pigment and a [baren](/glossary/baren) produces transparent, granular passages where one color sits within or across another, creating depth without illustrative shading. Maurstig's wider practice spans mokuhanga, drypoint, and letterpress, and the Mokumap project draws on all three sensibilities: the cartographic vocabulary of letterpress rules and grids, the line of intaglio, and the layered tone of woodblock. The Norwegian coastal landscape, with its fragmented edges between land and sea, provides a natural source for compositions that read as both abstract sheet and located document.