Untitled

This untitled woodblock print reflects Gibbons's grounding in contemporary American relief printmaking, a tradition that diverges from Japanese [ukiyo-e](/glossary/ukiyo-e) while sharing the medium's fundamentals: a carved matrix, water- or oil-based ink, and pressure transfer to paper. As a student of Karen Kunc at the University of Nebraska-Lincoln, Gibbons absorbed an approach to woodcut that favors abstract, organically derived imagery and reduction printing, in which a single block is progressively carved and reprinted to build layered color. The print likely demonstrates the controlled registration and surface inflection that hand-printed relief allows—qualities visible in the grain of the block, the slight relief of inked passages, and the absorbency of the paper, which may include [washi](/glossary/washi) or Western printmaking sheets. Within Gibbons's broader output as a printmaker and educator at the University of North Texas, woodblock work sits alongside intaglio, letterpress, and post-digital techniques such as CNC routing, the latter increasingly used to prepare blocks with precision unavailable through hand carving with knife and gouge alone.