Signup: CLOSED
Coordinator: Benjamin Selby
Details:
- Medium: Woodblock print–hand rubbed or pulled on a press, any pigments, any paper
- Theme: Into the Woods
- Paper Size: Other: 4 x 6 inches (10 x 15 cm)
- Paper Type: No restriction
Deadlines:
- Registration period: January 1, 2026 to January 31, 2026
- Drop-out deadline: February 28, 2026 If you must drop out of the exchange, please do so as early as possible in order to give people on the waiting list time to complete and submit their prints.
- Mailing deadline for finished prints: March 31, 2026
Jana Bareham, Sheffield, UK
Forest Gifts 1
6 x 4 in, three shina woodblocks, Holbein watercolours and sumi ink on 100% kozo washi from Iwano Heizaburo, Echizen, edition 40. www.domastudio.co.uk
Barbara Carr, Concord, NH USA
Tangle
6 x 4 in, one shina plywood, water-based (background), oil-based (block) on Rives BFK, edition open. The image is from a photo I took when I lived in the woods of Salisbury, NH
Stacy Cotey, Calumet, MI USA
Red’s Revenge
6 x 4 in, one shina plywood, Sumi ink, watercolor, nori on Yasutomo Washi, edition 35.
Anne Goesel, Kent, UK
In Green
15 x 10 cm, one block reduction in five passes, Holbein Watercolour on Awagami Kozo Thick, edition 31. https://annegoesel.com/ Instagram: @annegoeselprints https://www.instagram.com/annegoeselprints/
Carol Wilhide Justin, London, UK
Red Wood
10 x 15 cm, one, Coloured sumi ink on Kitakata washi, edition 31. ‘Red Wood’ is a Mokuhanga print, cut from shina plywood and hand printed with a baren. I used coloured sumi sticks for the pigment that I bought in Nara, Japan from Kobaien where 16 generations of the Matsui family have been making sumi. The paper is Kitakata washi. I trialed different colours including black but the red seemed to allow more light to come through the trees. carolwilhide.com
Rachel Kamata, San Antonio, TS USA
Succession: Year 5
4 x 6 in, Two double sided wood blocks, Watercolor on Mixed Fiber Washi, edition 31. The Robert L. B. Tobin Land Bridge in San Antonio spans a winding 6 lane parkway. Five years after construction ended, the dark greens of mature oak trees are slowly making their way over the bridge and into the previously disconnected woods. https://www.rachel-kamata.com
Tomasz Kawelczyk, Lodz, Poland
Pine tree
6 x 4 in, one wood, oil pigments on Arches, edition 32 / 32.
Martha Knox, Philadelphia, PA USA
Lift
15 x 10 cm, two linoleum, Blick water based block printing ink on Canford Barley, edition 32. My reference was a warbler, a common bird found in the forest of Pennsylvania. www.marthaknox.com
Tom Kritensen, Sydney, Australia
Into the wood
15 x 10 cm, three cherry faced, Holbein gauche and sumi on Thai kozo, edition 35. Palm cockatoos like most Australian parrots nest in hollows formed inside old trees. These birds are unique in testing the musical quality of a hollow which they do by drumming with a stick. The resonance of the hollow indicates the size and soundness of the housing on offer. This example of an animal both using a tool and playing music challenges the idea that only humans are capable of such pursuits. doubledaggerart.com
Mike Lyon, Kansas City, MO USA
Red Riding Hood
4 x 6 in, four solid cherry blocks, Guerra Paint and Pigment dispersions, yellow, lt blue, red, dk blue on Kozo by Iwano Ichibei, edition 31. Image of my model and muse, Sarah, peering out from a black bedsheet makes a nice Red Riding Hood from the musical, “Into the Woods.” I printed a dozen sheets of paper over each of the four blocks. Each block had four identical print images carved.. After printing each sheet over each block (twice over the red block), I cut the four 4×6 inch prints from each sheet. I somehow mis-registered three of the sheets, so was came out with 36 decent prints, 31 in the Baren 103 edition plus 5 un-numbered A/P “proofs.” https://mlyon.com
Jacek Machowski, Krakow, Poland
Into the indoor woods
I have quite a lot of works that I start… and then… I begin working on something else, forget about them, or they somehow hide themselves 😂 I made the first block for this piece a year ago, pulled a print from it, transferred it onto another block… and then put it away in the corner of my desk 😅
I remembered this project when I saw the theme of the 103 [Baren] Exchange: “Into the woods,” and realized it was the perfect moment to finally finish it.
The inspiration came from the effect of plant shadows falling onto a fabric blind. One could say that this piece fits into the genre of kachō-ga (flower and bird pictures), while its overall aesthetic could be described as wabi-sabi.
Since I’m interested in various additional techniques within mokuhanga, I decided to try two of them:
ita-bokashi — soft, fluid cutting (and sometimes kasure-bori scraping) of printing edges, creating blurred and grainy transitions.
goma-zuri — granular (sesame-like) printing. Here I used a very hard, homemade baren without a baren-shin, which makes micro-irregularities of the block and paper visible.
I also carved the blocks on a small piece of wood with detachable kento registration, which saves material and allows flexible paper formats and print placement. Joining the parts is always tricky — this time a rubber band worked perfectly 😂machy.pl
Nichol Markowitz, Oakland, CA USA
Summer Portal
6 x 4 in, three shina plywood, Winsdor Newton and Holbein watercolor and gouache on Udatsu Echizen kozo paper, edition 37. Each block was inked with 2 different colors. Yellow (1st layer) and green (3rd layer) blocks have double bokashi www.nemprints.com
Lisa Matthias, Parkland County, AB Canada
Winter Tracks
15 x 10 cm, three shina plywood, Gouache on I think it was Echizen kozo, natural colour, edition 35. lisamatthias.com
Bronwyn Merritt, FL USA
Faun
6 x 4 in, one lemonwood block, Speedball Black on Note Paper, edition 31. Inspired by a pagan headdress I made myself. A magical woodland creature I would like to see in the woods.
Sarah Ann Mitchell, London, UK
Joo Chiat
6 x 4 in, eleven shina plywood blocks, Jacksons watercolours on Pansion, edition 40. Joo Chiat is a transcription of a small section of a painting made in Singapore by Gavin Maughfling. I was curious to consider how this multicoloured painted image might work in print. sarahannmitchell.com
Kimiko Miyoshi, Long Beach CA USA
crepuscular beech forest
4 x 6 in, two plywood blocks, one of them printed twice flipping 180 degree, water color and oil base relief ink on kozo, edition 31 + one AP. N/A
Adam Ritchey, Fayetteville, AK USA
Into the Hills
4 x 6 in, one linoleum, Black on Cardstock, edition 31. https://AdamRitchey.com
Julio Rodriguez, Skokie, IL USA
Into the Woods
6 x 4 in, one linoleum (reduction), Blickâs & Speedball Printmaking Water Soluble Ink on Rives, Light White (four prints on Heavy), edition 32. Reduction image, two impressions done on moisten paper with baren tool and metal spoon.
Cristina Royet, Lyon, France
M. and the tree (we could all use a hug these days don’t you think ?)
15 x 10 in, three shina plywood, Holbein gouache & watercolor on Masa Awagami, white, 86 gm2, edition 31. For this exchange I wanted to use Suminagashi (Japanese marbling technique) for the background.
Two options were possible : marbling big sheets of paper or marbling the imposed paper dimensions (15 x 10 cm).
I finally decided to marble on the imposed size so the patters be smaller and integrate better with the design.
Therefore each print is different from this point of view. As reference, I used a picture made in Tuscany, some years ago, of my husband marveling at the grandeur of an old tree. https://cristinaroyet.fr
Benjamin Selby, Walla Walla, WA USA
Disappearing
6 x 4 in, five shina Blocks, Sumi and Gouache on Miscellaneous Echizen washi, edition 31. The original drawing that inspired this print was made at a crossroad in my life. I was between careers, between places to live, and I ended up having accept help from family who had hurt me in the past. I felt trapped and didn’t know how I would escape. Much of my work uses a particularly river and forest to represent to reconciliation process with my family, and I had been regularly visiting them there, but living there was that last thing I wanted, or needed. I was back where I worked so hard to get away from. While I made it out again, it is always on the back of my mind how easy it would be to fall back. benjaminselby.com
Mary Shoemaker, Aurora, IL USA
Into the Woods
4 x 6 in, one shina plywood, Speedball water based on Kitakata, edition 31. Handprinted with baren
Zanna Tachibana, Kanazawa, Japan
Sheep Lake; 18:00, 23:00, 1:15. Just a Speck
6 x 4 in, three shina blocks, Sumi, Holbein gouache on Ryozo Yanaseâs Kozo/hemp, edition 31.
Cydney Taylor, Baja, Mexico
Into the Woods
6 x 4 in, four shina blocks, watercolour, nori on Pantion, edition 31. I wanted more of the feeling of going into the woods than an actual landscape.
Landa Townsend, Charlotte, VT USA
Mokuhanga
6 x 4 in, two blocks found wood with unique knot pattern, Holbein watercolors, nori on Japanese washi, edition 31. Mokuhanga. Carved found wood with a unique knot pattern and woodgrain. Printed using a baren. Image is a Skunk cabbage (Symplocarpus foetidus) It is notable for being thermogenic producing heat up to
70degrees to melt surrounding snow. These flowers are the first to appear here in Vermont. LandaTownsend.com
Robert Viana, NH USA
Ethan
6 x 4 in, one cherry, Cranfield Caligo Safe Wash Relief Ink, Black on Rives Cream, edition 34. www.robertviana.com
Monique Wales, Oakhurst, CA USA
So, I just rake it??
10 x 15 cm, nine Blocks (8 shina Plywood, 1 Linoleum), Holbein Watercolors, Cranfield Colours Relief Ink (Black) on Shiramine 110gsm, edition 31. I decided to continue with my low-key activism and call out an absurdity from the past, as we head into what may be a very challenging Fire Season. Remember back in 2018 when thousands were being displaced by the worst wild fire In Californiaâs history (at that time), and we were told by the current President that all we had to do was ârake and cleanâ the forest to prevent wildfires… www.moniquewales.com
Sylvia Waltering, Manchester, UK
Cold Moon
15 x 10 cm, two shina, Holbein Watercolour, Sumi, Mica on Kozo Washi (Udatsu, Echizen), edition 40. www.sylviawaltering.com
Josh Winkler, Deep Gap, NC USA
Pace
4 x 6 in, three shina, Guache on Okawara Machine Made, edition 31. www.joshkwinkler.com
Dropped out late
- William Joel (USA) 4/23/2026
- John Center (USA) 6/2026