
Melbourne’s Tipungwuti Art College was abuzz with the news of Master’s student Katrina Guilfoyle’s return last week. The 25 year old artist had been in Japan studying ukiyo-e, the traditional block art painting technique, under the watchful eye of renowned master Shitsuyo Masaguri. An aspiring ukiyo-e revivalist, Guilfoyle spent a whirlwind 32-day “immersion” in Tokyo, and she’s fully prepared to position the experience as a key moment in her artistic story.
Guilfoyle arrived in Japan armed with a bullet journal labeled “Ukiyo-e Enlightenment,” and immediately purchased enough washi tape to rewrap the entire Yoshiwara district. She documented the journey meticulously on all her social media accounts, something that must have taken an enormous amount of time that probably should have been spent focusing on ukiyo-e.

“I studied under a true Japanese master,” Guilfoyle told friends at her welcome-back gallery opening (held in a converted garage with fairy lights and a playlist of shamisen remixes). “It was intense. Traditional apprenticeship vibes. I basically lived the ukiyo-e life. I had a great time studying under Masaguri Sensei’s tutelage. Together we were able to build an understanding. Of course, ukiyo-e doesn’t just belong to Japan. I like to think that there’s a little bit of ukiyo-e in every artist.”
When asked about the brevity of her studies, Katrina waved off concerns with the serene confidence of someone who once binge-watched three seasons of a samurai drama in one weekend. “Staying longer would have meant supporting myself financially. That would have meant doing real work like teaching English or working in a bar. No thanks!” Guilfoyle then took pains to stress that she didn’t have any negative thoughts about language teaching or bar work. “While I don’t look down on anyone teaching English in Japan, it’s just something that I couldn’t imagine myself doing. Personally, I’d rather work as an escort before I worked as a language teacher. Of course, that’s if I had to work. Look – I’m an artist first. People have to understand that.

“Time is an illusion in the floating world,” she continued. “Hokusai didn’t become Hokusai overnight. He was still evolving at 90. I just fast-tracked the vibe. Masaguri Sensei taught me about concepts such as shuhari and hanga. Basically, you have shuhari across many traditional arts, including ukiyo-e. So, you can have shuhari without ukiyo-e, but you can’t have ukiyo-e without shuhari. Hanga is a little different to ukiyo-e, but the concept of shuhari still applies. Anyone who says otherwise doesn’t know the finer distinctions in Japanese art and culture. Plus, the master said my brushwork had ‘spirit’. That’s basically shuhari accelerated.
“I feel that with hanga and ukiyo-e, I’m now able to create in a deeper, more existential way, with a dash of secular Buddhist spirituality, which I’ve been told makes absolute sense, so don’t laugh at what I’ve just said and tell everyone that I’m a space cadet. You can learn a lot in a month, especially with the intensive course that I attended. I once had a much older boyfriend who never went to university, but did a one-month language teaching course, and he’s made enough money over the years to buy two houses. So, there are months where nothing happens, and months which are life-changing. I’ve just experienced one of the latter. The only downside was staying in a guesthouse which had some of the creepiest guys I’ve ever met. They all had yellow fever though, so I felt safe, but also disgusted… and invisible.”

What the masterclass actually entailed, according to sources close to the situation (i.e., her Instagram stories), was a three-hour paid workshop at a community center in Asakusa. The “master” was Mr. Masaguri, a retired salaryman who runs occasional drop-in sessions on woodblock printing basics using pre-carved blocks and safe, tourist-friendly inks. Participants receive a certificate of participation printed on nice washi paper that says, in polite Japanese, “Thank you for joining our fun experience!” Guilfoyle simply attended this same class fourteen times during her stay, picking up fourteen certificates in the process.
Guilfoyle is settling in well back in Melbourne. “There are a couple of aboriginal girls doing the same art class as me here at Tipunwuti, and they get to incorporate native styles into their art. Of course, I’m an evil colonist if I try to do that. Japan, however, is a developed country so, according to the rule book, it’s okay to use their styles and techniques without the fear of having all your hair forcibly shaved off like a traitorous French slut in 1944. This situation, more than anything, put the first seed into my mind that I’d have to broaden my horizons in order to enrich my style. I’m still at a disadvantage though; I’m never going to be championed by some super-rich toff who wants to feel good about herself. So it looks like I’ll be plodding around the same old avant-garde circuit for years until I shack up with an arts professor.”
- The Japan Wanko reached out to Mr. Masaguri for comment. He politely declined, saying only, “She was a nice student. Good luck with her art.”























































