New Illusion

New Illusion foregrounds Shinoda's engagement with perception and the limits of visual knowledge. The woodblock medium introduces a material tension into her usual sumi ink vocabulary: the carved block imposes fixed boundaries on forms that in her paintings and lithographs retained fluid, open edges. This productive friction between medium and intention likely yields compositions where ink passages appear simultaneously solid and dissolving. Shinoda's training in classical Chinese and Japanese calligraphy informed her understanding of negative space as active pictorial element, and New Illusion likely deploys extensive open areas against concentrated ink forms. The title positions the work within her broader inquiry into what abstract marks can and cannot represent.