Tracing Tradition: The Dual Mastery of Hidehiko GOTO
- hilarytolman
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- Jul 19
- 3 min read
Hidehiko Goto occupies a unique position in the field of contemporary Japanese printmaking as both a skilled artist and one of the few remaining masters of traditional baren construction. His work reflects a deep respect for the materials and techniques of mokuhanga (woodblock printing), informed by decades of study, practice, and craftsmanship.
Born in Kokura in 1953, Goto did not begin his professional life in the arts. He initially served in the Japan Self-Defense Forces as a communications engineer. His interest in printmaking began during his military service when he came across a book on woodblock techniques. Upon leaving the service, he committed himself to the study and production of traditional baren—the hand tool used to apply pressure during the printing process—and subsequently developed a distinct printmaking style of his own.
Goto’s prints are characteristically restrained in both format and composition. He generally works within the traditional oban tate-e (vertical oban) size of approximately 10 × 15 inches. His visual language centers on abstracted natural forms—particularly coastal elements—rendered in subdued palettes, with careful attention to negative space and tonal balance. His predilection for blue tones—seen frequently throughout his body of work—can be traced to his proximity to the sea. He often walks the coastline near his home, observing the sky and water at various times of day. Viewers frequently note the peaceful, contemplative quality of his images, a mood that is reinforced by his use of soft gradients and cool hues. It is not surprising that the color blue, traditionally associated with tranquility, has become central to his visual vocabulary.
Any close study of Goto’s prints reveals his exceptional ability to coax texture from the woodblock surface. His sensitivity to the grain and surface of each block allows him to create delicate gradations and subtle reliefs that add physical depth to otherwise minimal compositions. His skill in this regard reflects not only artistic sensitivity, but also his technical foundation in toolmaking.The baren is a circular hand tool used in Japanese woodblock printing to transfer ink from carved blocks onto paper. Traditional hon-baren are composed of a twisted bamboo coil core, multiple layers of fine washi paper glued and lacquered together for the backing, and an outer sheath of bamboo bark. Using traditional methods it can take Goto-san up to six months to complete one of these flat, disc-shaped tools. Goto-san’s baren are regarded as some of the finest made today, with individual tools ranging in price from $800 to $10,000 and purchased by professional printmakers, academic institutions, and restorers worldwide.
Goto-san is a warm and enthusiastic guest during Tolman Collection gallery events - often bringing a favorite bottle of sake to share, which he is always happy to help enjoy. From the earliest days of his career, his work has resonated with me. I recognize his technical mastery and admire his singular artistic voice rooted in restraint, elegance, and tradition. Over the years, The Tolman Collection has widely exhibited Goto-san’s work and helped place it in major public and private collections around the world such as the Los Angeles County Museum of Art, the Art Institute of Chicago, the Newark Public Library, and the Smith College Museum of Art.
Goto’s contributions to the world of art reflect a rare dual mastery: as a printmaker of quiet precision and as a craftsman preserving one of the most essential tools of the tradition within which he creates his work. His prints invite close looking—both for the subtle textures within each composition and for the depth of knowledge and intention behind each impression. Through his prints and his tools, Goto sustains and extends the legacy of Japanese woodblock printing, ensuring its continued relevance for future generations of artists and collectors alike.
