Untitled

This second untitled woodblock can be read against Gibbons's interdisciplinary practice, which spans relief, intaglio, monotype, and post-digital fabrication. Contemporary American woodblock printmaking departs from the multi-block [nishiki-e](/glossary/nishiki-e) tradition by favoring single matrices, reduction techniques, or hybrid methods that combine carving with photopolymer or laser-cut elements. Gibbons's decade-long direction of PRINT Press, the collaborative workshop at the University of North Texas, places her within the lineage of late-twentieth-century print collaboratives, where editioning practices adapted to artists working across media. The visual vocabulary in her woodblock work tends toward the abstract, with passages of carved texture playing against open paper. Color, when present, may be applied à la poupée or through successive impressions rather than the multi-block [bokashi](/glossary/bokashi) gradients of the Edo tradition. The block itself often retains evidence of its making—knife marks, gouge tracks, and the wood grain reading as compositional material. This integration of process and image marks the print as a contemporary studio object rather than a reproductive impression.