It seems that the first instances of Shinoda’s lithographs date back to 1968 when she returned to Japan from her time in New York city. Her adoption of lithography was a result of her wanting to mass-produce her work. Once the prints are made, Shinoda adds individualized brushstrokes of ink or paint to the prints. Through this practice, each print displays different visual attributes but embody Shinoda’s signature touch. She believes her artwork and process became more conscious, focused, and made with intent – opposed to her earlier expressionistic and rhythmic abstract whims.

Shinoda also includes the traditional Japanese practice of yohaku, using negative space as an active part of the composition. Perhaps inspired by her earlier calligraphic works, her work takes various forms of kanji characters and old calligraphic script but abstracts and manipulates the forms to create a non-objective image – the hand applied red ink can also be seen as an homage to her fascination, as well as irritation, by the red correction marks her teachers constantly made on her calligraphy homework whilst in school.

Whilst the lithographs are widely titled, and signed in pencil by the artist, buyers will notice that many of Shinoda’s lithographs are undated – she opted to not include dates on the large majority of her works.