IMC2017 Award Winners


Discipline & Sensibility


Keiko Kadota



Two very special awards, named after KEIKO KADOTA, the founder of IMC, were announced at the reception:

2017 Keiko Kadota Award for the Advancement of Mokuhanga

Hidehiko Goto

Hidehike Goto, artist and baren maker

Born in Kokura, Fukukoka Prefecture in 1953, Goto studied printing and the baren under Kikuo Gosho, a printmaker, and Matashiro Uchikawa, an ukiyo-e printer. In 1979 he established the Baren Studio Kikuhide. He has been engaged in the planning and development of tools related to the baren as well as in providing direction on the baren for universities, museums and mokuhanga courses. In 2012 he started Baren-Juku, a baren class in Ginza. Goto is also an accomplished mokuhanga artist.

Keiko Kadota Print Awards

Michiko HamadaSHK and Roslyn KeanTime with Tradition 4

Additional Awards

#1 Lucy Schofield & Gillaume Brisson-Darveau for The Moon & The Sledgehammer, Awagami Paper Award:100 Sheets of Awagami Editioning Paper, $500 US value

#2 Kanako Watanabe for Asagakuru, Donkey Mill Art Center AIR Program Award: 2 weeks, value of $1,000+, under Hiroki Morinoue’s guidance, plus $500 travel expenses and room and board at the Morinoue household

#3 Trish Yates for Wandering the Eucalypt Forest, Mi-Lab AIR Program Award: Cash value Japanese ¥100,000 toward the ¥280,000 participation fee for any MI-Lab AIR Program plus $500 travel expense

#4 Aleksander Wozniak for Fuji, Constellation Studios Award: One week residency, value of $500 plus $500 travel expense

#5, 6 & 7 Mara Cozzolino, Daryl Howard, and Yuuki Kashiwagi, Three Jurors’ Awards: Michi Hamono’s set of 7 carving tools for beginners, value approx. $50 plus 5 sheets each of Donkey Mill’s Hawaiian kozo paper handmade by Tetsuya Takizawa, value approx. $12

Selection committee:

  • Charles Cohan
    IMC2017 Local Committee Site Co-Chair, Prof. Univ. of Hawaii at Manoa, Honolulu, HI; Director, Arm and Roller Press, Honolulu, HI, USA
  • Claire Cuccio
    IMC Board Chair, US
  • Duncan Dempster
    IMC2017 Local Committee Site Co-Chair, Executive Director of Honolulu Printmakers, Lecturer at Univ. of Hawaii at Manoa, USA
  • Keiko Hara
    Emeritus Professor of Art, WhitmanCollege in Walla Walla WA, Independent Artist, Japan/USA
  • Ralph Kiggell
    IMC2017 Board Vice-Chair, Independent Artist, Educator, UK/Thailand
  • Karen Kunc
    Former IMC Board Chair, Cather Prof. Art at Univ. of Nebraska, Lincoln, NE; Director & Owner of Constellation Studios, Lincoln, NE, USA
  • Michael Schneider, IMC Board Member, Austria/Japan
  • Katsutoshi Yuasa, IMC Board Member, Japan

Maholo to our FULL LIST OF SUPPORTERS AND SPONSORS for making this conference possible.


IMC2017 Closing: Photographs and New Newsletter

Elettra Gorni Substance Hokusai

Elettra Gorni (Italy) Mokuhanga Technique at the Service of Visual Narration: a sample of a set of ten prints Shiika Shashinkyo

Mokuhanga History, Philosophy & Society. The Mokuhanga Technique at the Service of Visual Narration: a sample of a set of ten prints Shiika Shashinkyo” (A True Mirror of Chinese and Japanese Poems) by Katsushika Hokusai Saturday, September 30 from 2:30pm – 3:00pm

Elettra Gorni was born in Suzzara, near Mantua, Italy, in 1967. After a degree in History of Modern Art at Ca’ Foscari University, Venice, she worked as a cartoonist. In 2005, she began a new artistic journey: she graduated from Brera Academy of Fine Arts in Sculpture and started practicing mokuhanga as a source of artistic inspiration, study and research. She is currently living, working and studying in Milan. As an artist, researcher and teacher inspired by old Japanese books and prints, Gorni’s artistic practice is intended to suggest intriguing surrealism using simple shapes, a monochrome palette with only a few colors and the void. Her preferred medium is mokuhanga, since this printing process allows her to build simple, meditative, flat images with a strong power of evocation, though she works also in painting, sculpture, ceramics and drawing. Abstract My intention is to show that the mokuhanga technique provided Hokusai with specific resources (e.g. the bokashi gradation) to be narratively effective. The technical and expressive support coming from mokuhanga, mixed with iconographic motifs typical of the traditional eastern spatial representation (for example the presence of water, mountains, sky, clouds and mistiness), contributes to the building of a visual and narrative syntax specific to Japanese woodblock prints.

Fatih Gök and Semih Cınar

Fatih Gök_Semih Cınar, Turkey

Semih Çinar was born in Karabük and in 2013 graduated from Karabük University Fine Arts Faculty. He continued with his master’s at Hacettepe University; 2016 Graphic Art Biennial Of Szeklerland 2016 (Transilvania Art Center /Romania); 2016 Osten Biennial Of Drawing Skopje 2016 (National Gallery Of Macedonia); 2016 Sava Ve Bari II / War and Peace II (Ça da Santalar Merkez, Ankara). Abstract In the 18th and 19th centuries, as a result of the emergence of the industrial revolution, the social structure changed along with the modernization. The emergence of the digital age therein has accelerated this change and enabled different forms of expression and techniques to emerge in art. In this presentation, I attempt to convey the reasons and the importance of preserving the traditions as well as the updating of the art of woodblock printing, which is one of the traditional branches of art.

Born in Izmit, Turkey in 1989, Fatih Gok entered the Department of Painting, Bodrum Faculty of Fine Arts, Mugla University in 2007 and graduated there in 2011. He began to study for a master’s degree at the Department of Painting, Faculty of Fine Arts, Hacettepe University in the Spring Semester of 2015. His international exhibitions include International Print Biennale Yerevan, Yerevan, Armenia, 2017; 3. Osten Biennial Of Drawing Skopje, Gallery Osten, Macedonia, 2016; International Biennial Print Exhibit: 2016 ROC, National Taiwan Museum of Fine Arts, Taichung, Taiwan, 2016; International Istanbul Printmaking Activities, International Istanbul Engravings Exhibition, Yüksel Sabanc Art Center, Istanbul, Turkey, 2016; and International Student Exlibris Competition, St. Petersburg + Moscow, Russia, 2011. Abstract The images of modern times are made up especially of the images that come into our life after the industrial revolution. Life forms and shapes that do not exist in human life before this date enter into human life. In this case, the communication of the person with these new life forms needs to be taken in a new context. This presentation aims to explore my works as studies of these new forms of life together with the art of woodcut, one of the earliest methods of the art of printing. At the same time, the relationship of the woodcut technique with technically realistic expression is of special importance. It is also necessary to examine the technical point of view to these sample works, which are revealed by thinking about the technical possibilities of woodcut. Pushing borders in contemporary print art is very important in terms of the diversity and development of techniques. If it is intended to transfer the images realistically, printing techniques pose a variety of challenges because they are an “indirect” method in a sense. Again by example works, I aim to examine the subjective relationship between woodcut art and realistic expression. This examination will focus on the technical possibilities of woodcut art especially in Turkey

April Vollmer – Japanese Woodcut Goes International

April Vollmer is a New York artist and writer with an M.F.A. from Hunter College, whose work focuses on mokuhanga. Her woodcut prints have been exhibited internationally; she has taught many workshops across the U.S. and is an instructor at the Lower East Side Printshop. She was on the board of the First and Second Mokuhanga Conferences in Japan, and is Communications Attaché for the Third. Her book Japanese Woodblock Print Workshop was released by Watson-Guptill in 2015.

Presentation Title: 

Japanese Woodcut Goes International: the Evolution and Influence of an Independent Japanese Mokuhanga Training Program

Introducing the Floating World to the International Artist Community

Nagasawa Art Park; Mi-Lab Residency Program; International Mokuhanga Conferences


Over the last two decades there has been a growing interest in Japanese woodblock, mokuhanga, outside Japan because it is water-based and does not require the use of a press. The Nagasawa Art Park residency program and its successor Mi-Lab (Mokuhanga Innovation Laboratory) have been of special importance in promoting an understanding of mokuhanga as a creative practice outside Japan. These programs focused on short-term residencies to train mid-career artists from a variety of locations who might promote the technique in their home countries. Because many of the participants were or later became teachers the influence of the program has been greatly magnified over time. These programs have expanded to include a research residency at Mi-Lab, professional development classes for Japanese artists and short classes in mokuhanga at the Tokyo office, which also includes a gallery space. In addition to the residency program, the associated International Mokuhanga Conference, held every three years, has provided a significant meeting place for alumni, educators, printmakers and others interested in the materials, history and technique of mokuhanga.

The timing of these Japanese programs coincided with a new appreciation for this nineteenth century technique reflecting a transformation in the way printmaking is done today. A new environmental awareness, increased concerns about safety, and an emphasis on flexibility and mixing media, along with a broader cultural overview, are elements that make Japanese woodblock especially relevant in contemporary printmaking studios. These characteristics have made mokuhanga a significant bridge in promoting the growth of residencies and participation in conferences and exchanges for Japanese as well as international artists. The programs initiated by Keiko Kadota have made this connection clear and have connected many artists across cultures.


Paola González Presentation: Mokuhanga in Chile

Paola Gonzalez Farias: Mokuhanga in Chile
Paola Gonzalez Farias: Mokuhanga in Chile

Paola González & Javier Santander (Chile)

Local Practice. The Adoption of Mokuhanga in Schools and Communities: A research in progress about the teaching process of non-toxic techniques of xylography in Chile Saturday, September 30 from 11:00am – 11:30am Conference Center | Pacific Room

Teacher of Visual Arts and Master’s in Education, studied in Universidad Metropolitana de Ciencias de la Educación in Santiago de Chile. Woodcut printmaker. Her studio is located in San José de Maipo, Santiago de Chile. She was awarded a scholarship in Japan by JICA, and developed her master’s thesis about Cultural Learning, based on “Gunma ‘50”. Abstract The most important thing for society is to transmit information and generate learning. Artists should give part of their time for society to get closer to art. Artists should be primarily supporting schools. At the learning space for mokuhanga in Santiago de Chile, Mtr. Paola Beatriz González Farías is involved in research about the teaching process of non-toxic techniques of xylography in Chile. Research has been developed through interviews with school and studio teachers. Most of the xylography classes conducted at universities in Chile are made based on printing methods where toxic solvents are used. In the case of schools in Chile, water-based techniques are not used because they are not known and few woodcut ateliers use non-toxic techniques. This study considers five schools represented by its teacher, three of the most important xylography studios of the capital zone (Región Metropolitana de Santiago) and three university xylography courses, concentrating on how non-toxic techniques are taught. In one case, we show an educational experience around primary children learning the mokuhanga technique at school and use print results for a game that reinforces cultural understanding, based on a Japanese educational policy and a master’s thesis in Chile.

In addition to creating the website, we are also organizing The First Scholar woodcut competition in Santiago’s Metropolitan Region for this year with the plan to offer classes in non-toxic woodcut in schools in the region before the deadline. The purpose of the site is to promote woodcut knowledge, specially focused on school teachers. We are preparing class modules to support regular visual arts classes at schools according to the ministerial plans.

“Globalizing Mokuhanga” Opens at Donkey Mill

Thursday, August 31, 2017
Contact: Emily Crabill • (808) 322-3362 •
Donkey Mill Exhibit Celebrates International Mokuhanga
HOLUALOA, HI – Donkey Mill Art Center is proud to present its newest exhibition Globalizing Mokuhanga which will open to the public September 1 and run through October 14, 2017. The exhibit is available to view during Donkey Mill’s open hours, Wednesday through Saturday from 10:00 am to 6:30 pm. An artists’ reception will be held on Saturday, October 7, from 6:00 – 8:00pm, this event is free and open to the public.

This exhibition of traditional Japanese mokuhanga woodblock prints is held in conjunction with the Third Triennial International Mokuhanga Conference (IMC2017) this year being held for the first time outside mokuhanga’s home country of Japan. The sold-out conference drawing artists from around the world will be held in Honolulu September 28 – October 1, with satellite events at Donkey Mill Art Center on Hawaii Island from October 3-8. Globalizing Mokuhanga provides our local community and visitors an opportunity to learn and experience the beauty of this traditional art form through a selection of contemporary mokuhanga prints from the permanent collection of the Mokuhanga Innovation Lab (MI-LAB) Artist in Residence program in Japan.

As an extension of the Globalizing Mokuhanga exhibition, Studio 7 Fine Arts Gallery in Holualoa Village on Hawaii Island will showcase the works of guest teaching artists Hidehiko Goto, April Vollmer and Keiko Hara. Donkey Mill Art Center is the home of Holualoa Foundation for Arts and Culture, a 501(c)(3) nonprofit art education organization. Its mission is to provide a stimulating environment that helps individuals discover, develop and expand their artistic abilities. For more information, visit or call (808) 322-3362.

Donkey Mill Art Center, open Wednesday through Saturday, 10:00 a.m. to 6:30 p.m.
78-6670 Mamaloahoa Highway Holualoa, HI 96725 (808) 322-3362

Aloha Artists! Registration Time!

  We’re less than one week away from joining together for the Third Triennial International Mokuhanga Conference in beautiful, Hawaii. We hope you’re excited and ready for a weekend of education, celebration, and embracing the warm spirit of Aloha. We have been busy busy planning and working hard to make it an experience you will cherish forever.
Here is some basic information to help get you started. You may have questions in addition to what we have laid out, but please educate yourself on the City of Honolulu and UH-Manoa’s campus map.
The most up to date schedule is on our website and can be found here. Importantly, registration is open from 12 – 5 on Thursday, September 28th, located in the UH-Manoa Art Building, Commons Gallery. It’s very important to check in during these hours. There, you will receive the conference booklet, tote bag, and badge. Please wear the badge at all times. It is your ID card to get into the conference.
After registration, please find your way to the Gallery Walk with Yasuyuki Sato and Hayato Fujioka from 3:00 – 4:00. Then immediately following, there is a Gallery Walk with Ralph Kiggell and Hiroki Morinoue from 4:00 – 5:00. There will be a soft opening right after the Walk, open to the public put on by UH Manoa.  At 6:00pm please join us for the Opening Reception at the East-West Center at the Wailana Garden Dining Room where there will be catered food and light refreshments. Then it’s a good nights sleep and be ready for our first keynote speaker, Mayumi Oda, Friday morning at 9am!
A local taxi cab service or Uber are easy ways to get between UH-Manoa Campus and the Honolulu International Airport. There is also a reliable bus system and more information found here.
Wear good shoes for walking between campus buildings and sun protection against the hot Hawaiian sun.
For those of you who have not paid for catered lunch during the conference, there are plenty of food options on campus that you can walk to and purchase lunch during breaks. More information found here.
If you have prints in the Juried Exhibition, it is very important to pick-up your prints from the Gallery between 5 – 6pm on Sunday, Oct. 1. If you are donating 100% to the IMC organization, thank you very much and you may skip this and move to the Closing Reception.
In case you need money exchange coming from another country, be sure to do that at the Honolulu International Airport, unless you know that you could do it from any ATM machine near by.
In addition, it’s a good idea to protect against unexpected travel emergencies with traveler’s insurance.
Looking forward to seeing you all!
IMC Board and Local Committee

MC2017 Hawaii / Satellite Program Artists

Oct. 3 – 8, 2017 at the Donkey Mill Art Center

Keiko Hara: Fluid & Free Mokuhanga Style, A Contemporary Approach


Through an expressive approach to the mokuhanga print process, using traditional and new techniques, participants will experience versatile creative image making processes by incorporating stencil and collage with woodblock printing. Participants will learn to see the endless possibilities for layering marks and colors to create a variety of mokuhanga prints.

Keiko Hara moved to US from Japan to pursue her career as an artist and earned an MFA at Cranbrook Academy of Art in 1976. In 1983 she was granted United States permanent resident status as an artist. Hara lives and works in Walla Walla, Washington, where she is an Emeritus Professor of Art at Whitman College.

With over fifty solo exhibitions since 1976, Hara has also been included in numerous invitational group exhibitions throughout the United States, Europe and Japan. Museums that include Hara’s work in their permanent collections are The National Gallery of Art, The Art Institute of Chicago, The Detroit Institute of Arts, Portland Art Museum, Library of Congress, Jundt Art Museum, and many others.

Hara has been awarded grants from the Pollock-Krasner Foundation, the Artist Trust Fellowship, the Philadelphia Print Award and the first prize in the Michigan Print & Drawing Exhibition.


April Vollmer: Flouting Kento Registration for Special Effects


This portion of the workshop will show participants various ways to print already-cut blocks to achieve a variety of different prints. This approach includes printing different colors, printing textures like gomazuri, using bokashi gradation printing to change the spatial feeling of a print, printing with stronger and weaker pressure, and printing blocks multiple times on the same paper using a floating kento registration jig. The subtlety of mokuhanga printing allows a wide range of expression to be achieved simply by printing blocks in different ways or by layering and rotating blocks, printing them multiple times to create a complex, evocative print.

APRIL VOLLMER is a New York based artist and printmaker who specializes in mokuhanga, Japanese woodcut. With an MFA from Hunter College, she has exhibited her work internationally and has taught workshops across the U.S. Awards include fellowships at the MacDowell Colony, the Virginia Center for the Creative Arts, and the Nagasawa Art Park program in Japan. Her work has been published in journals including Science, Contemporary Impressions and Art in Print. She was on the board of the First and Second International Mokuhanga Conferences in Japan and her book Japanese Woodblock Print Workshop was released by Watson-Guptill in 2015.


Hidehiko Goto: Focus on the Hand-crafted Baren & Printing


Introducing and focusing on beta-zuri, solid all-over printing; Goto will teach this technique to help participants understand the differences in the look, feel and the sensitivity of printing with different barens. Learning this printing process will help develop an artist’s printing skill. It is not easy to master beta-zuri in printing large surface area, but this class will encourage the development of a sensitivity to printing with different barens.

On the second day Goto will demonstrate how to care for barens and how to re-cover the baren. In this session participants will have an opportunity to re-cover a baren, and to practice printing beta-zuri. Goto will demonstrate printing his own images with different barens to show the quality of printing with different barens.

Hidehiko Goto has exhibited widely across Japan, as well as Central Europe, winning important prizes for his inimitable prints. In 1989 he was named Most Promising New Artist in a major print exhibition held in Tokyo, also taking its Grand Prize. In addition to being a well-established mokuhanga artist, he is one of Japan’s most famous master baren makers.

Hidehiko Goto lives in Oiso, the location of one of the 53 Stations of the Tokaido Road in the print series by Ando Hiroshige.

Goto takes daily walks to the mountain side to view Mt. Fuji and the long beach of Shonan, enjoying one of the most picturesque views of Mt. Fuji with the Hakone-Izu mountains in the near distance.

Collections: Los Angeles County Museum of Arts, USA, Suzuka City Museum of Graphic Art, Nagano, Japan