This ongoing collection explores the expressive potential of a single, unchanging constraint: the 6 x 6 inch square. Each work is created using handmade Thai Mulberry paper and art-grade Sumi, printed using techniques inspired by Gyotaku. The finished print is then wet-mounted onto two layers of acid-free Masa paper, which are adhered to the back for stability and archival integrity. Every piece features hand-torn edges, a subtle but deliberate gesture that reinforces the presence of the maker and the tactile quality of the process.
While the process references traditional Gyotaku, this series marks a departure — honoring its materials and methods while moving into a more experimental and personal space.
Over time, the collection will become something of a visual biography — a growing record of the forms, surfaces, and subjects that catch my eye. It reflects not only the things I am drawn to, but also how I see: through texture, fragment, and edge. Each square offers a quiet moment of focus, capturing a fleeting observation or material encounter.
The small scale demands intimacy, both in process and in viewing. Many natural and man-made subjects exceed the boundaries of the square, shifting the emphasis toward texture, abstraction, and fragmented detail rather than full representation. The restriction becomes a lens, encouraging close attention to the nuances of each impression.
Rather than signing the surface of the print itself, each piece is stamped and signed on the mount board. A new personal seal — my initials carved into my fingerprint — symbolizes the individuality of this work and my evolving relationship to tradition, authorship, and experimentation.
Though each square stands on its own, the collection is designed to grow and shift. When displayed together, the interactions between pieces become part of the work — forming rhythms, contrasts, and conversations that continue to evolve as the collection expands.
