




nfluenced by the spirit of Japanese Ukiyo-e masters like Utagawa Hiroshige and Hokusai, Shepard embraces a practice of wandering freely without a specific purpose. This approach allows him to merge conscious and unconscious sensitivities, resulting in works that are not strict representations of a place but rather evocations of their experience.
Walking with a camera, he gathers fragments: hundreds of quick images of whatever catches his eye. These moments are later intricately cut, layered, and reassembled in Photoshop to form a singular image that is both fractured and whole—what he calls the omni-jective view of memory: many perspectives, one vision.
The prints were produced in collaboration with master printer Mitsuhiro Matsudaira at Atelier Matsudaira in Tokyo, using exquisite dai ōban-sized sheets of washi made by Ichibei Iwano, a ninth-generation washi maker and designated Ningen Kokuhō (Living National Treasure) of Japan. This rare washi, once used by Edo-era artists like Hokusai, lends historical resonance to Shepard’s contemporary process.
“When one falls asleep, having gathered the material of the day, one tears it up and recombines it, and dreams by one’s own light. In doing so, one becomes Creator.”
— The Upanishads