My Happy Place

A personal landscape title typical of Shimizu's later work, where specific places carry autobiographical weight rather than functioning as classical meisho in the Edo sense. The image likely depicts a remembered or recurring location—a garden, woodland clearing, or quiet domestic view—rendered through the layered transparency of water-based mokuhanga pigments. Shimizu's landscapes often employ bokashi gradations to suggest atmosphere: soft passages from sky to horizon, or shaded undergrowth fading into shadow. The composition often centers a single motif—a tree, a path, a structure—against a flatter background, a strategy inherited from her training under Tomikichiro Tokuriki, whose Kyoto landscapes balanced traditional subjects with modernist simplification. The handwork is visible: baren-applied color sits on the washi rather than into it, leaving the paper's tooth visible where pigment is lighter. Titles like this signal her alignment with sosaku-hanga ideals, where the artist designs, carves, and prints a personal vision rather than working from a publisher's brief as Edo-era ukiyo-e artists did.