Untitled

A third untitled print in the sequence, this work reflects the contemporary mokuhanga practice in which the absence of a title is itself a deliberate gesture. In the Edo and Meiji periods, [ukiyo-e](/glossary/ukiyo-e) prints typically carried specific titles identifying figures, places, or narrative episodes — Hiroshige's [meisho-e](/glossary/meisho-e) named stations of the Tōkaidō, Utamaro's [bijin-ga](/glossary/bijin-ga) named the courtesans portrayed. Contemporary practitioners working internationally have largely moved away from this convention, often preferring untitled or numbered works that resist literary framing. Technically, the print is built up through successive impressions of water-based pigment on [washi](/glossary/washi), with each layer absorbed into the fibers rather than deposited on the surface. Pittman's inclusion in the IMC Americas juried exhibition signals that her work meets the technical and aesthetic criteria established by the international mokuhanga community now organized around the conference.