Untitled

Ninomiya Miyuki carves and prints her blocks within the standard mokuhanga workflow: cherry-wood ([sakura](/glossary/sakura)) plates worked with hangi-to knives and chisels, water-based pigments brushed onto the printing surface, and impressions pulled by hand with the [baren](/glossary/baren). The grain of the cherry block can be left visible as a textural element in the printed image, and contemporary mokuhanga artists often use this material trace deliberately. As an untitled print in her body of work, this piece sits within the open-ended formal vocabulary that characterizes her output rather than referencing a specific narrative or place. Her placement in the Asia regional exhibition at the 2024 IMC in Echizen — the historical center of Japanese papermaking, where Echizen [washi](/glossary/washi) has been produced for around 1,500 years — situates her practice within a long material lineage. Many working mokuhanga artists in Japan continue to source paper from this region.