Edward Luper, Cherry Blossoms at Regents Park, 2026 The difficulty was not in making the drawing, but in learning how to limit it. In earlier work, I had not needed to think in such terms. In my series of views of the tower, colour was something that could be extended almost indefinitely. A pane of glass might contain several shades within it, each slightly different, shifting with light. There was no particular need to reduce or simplify. The image could absorb variation wit

I had long wanted to make woodblock prints, yet the path towards them felt distant. The craft demands years, and the system that once sustained it no longer quite exists. Faced with this gap, I began to consider another route, one that might preserve something of the process, while quietly altering its means.

Homage to Ukiyo-e exhibition at Art Glorieux Gallery, Ginza SIX, Tokyo, January 2026 The possibility of showing work in Tokyo unfolded slowly, over almost two years. Shoko-san of Gallery Sumire first contacted me after coming across my work on Instagram via recommendation from another artist, and suggested we meet while she was in London. We met at the Landmark Hotel and spoke at length about printmaking, Japanese art, and how my work might sit within a Tokyo context. At that