Images and information about my most recent projects. Please scroll down for more!
Cyanotype and screen print on fabric, 44.75" x 43.5", 2024
This piece is showing Sept 19 - Oct 19, 2024 in "Manipulating Matrices", an invitational exhibit curated by Claire Kiester at Hodges Taylor Gallery in Charlotte, NC.
It is a cyanotype print of a vintage silk piano scarf with hand-drawn and screen printed embroidery. It was completed in memory of my mother-in-law who had a similar one among her things. This piece continues my "Women's Work" series that celebrates the unknown women who created beauty as well as utility in their everyday things.
173 inches x 13 inches, screen print over digital output, 2024
This is a detail of a 14 foot long screen print made using the entire content of my iPhone's photo library (as of Dec. 31st, 2023). The title refers to the number of image thumbnails that were output. It's printed with a continuous pattern that reinforces the concept of a woven rag rug of my memories.
The years indicated along the left side provide a rough index to the color fields formed by the tiny images, allowing me to remember what was happening in my life at that time.
173 inches x 13 inches, screen print over digital output, 2024
The piece was temporarily installed in the gallery at Highpoint Center for Printmaking in June, 2024.
My setup for screen printing this project at Highpoint's co-op print studio. No assistant, just a really long table and some good luck.
My setup for screen printing this project at Highpoint's co-op print studio. No assistant, just a really long table and some good luck.
24 x 20, Cyanotype on gampi with 2 color screenprint overlay, 2024
This piece was accepted to the exhibit in the Fine Arts Competition at the Minnesota State Fair August 22 - September 2, 2024.
Blind embossed monotype, 18 x 24, 2022
Printed on hand made and hand dyed paper by Mary Hark of Hark! Handmade Papers
First in a series, working without ink on these wonderful papers. To be hung without glass and with careful lighting to highlight the 3D aspects and heavy texture of these sculptural prints.
Drypoint with chine-collé on handmade paper, 6x8 image on 9 x 11 western sheet, 2024
Created in a weekend workshop with teaching artist and McKnight fellow Grace Sippy.
10x 7.5, reductive screenprint, 2024
Created in another great class with teaching artist Lila Shull. Check her work out @cave.woman.
24 x 18, 4 color monotype, 2022
Printed on a vintage found paper, with plates made from recycled packaging materials, 2022.
Created after a workshop with visiting artist and McKnight fellow, Fidencio Fifield-Perez.
11 x 14 each, collagraph monoprints on various papers, 2023
This can be framed together as a triptych or framed individually and hung togther .
Check this section for news about current and recent exhibits.
24 x 20, Cyanotype on gampi with 2 color screenprint overlay, 2024
This piece was one of only eleven prints accepted to the exhibit in the Fine Arts Competition at the Minnesota State Fair showing August 22 - September 2, 2024.
24 x 18, Monoprint (unique) on found parchment paper, 2023
Exhibited at Hot Off the Press, Highpoint Center for Printmaking, July 26 - August 24, 2024.
30 x 20.5, Monoprint (relief roll) on BFK creme, 1/3 VE, 2024
Exhibited at Hot Off the Press, Highpoint Center for Printmaking, July 26 - August 24, 2024.
Cyanotype and screen print on fabric, 44.75" x 43.5", 2024
This piece is showing Sept 19 - Oct 19, 2024 in "Manipulating Matrices", an invitational exhibit curated by Claire Kiester at Hodges Taylor Gallery in Charlotte, NC.
It is a cyanotype print of a vintage silk piano scarf with hand-drawn and screen printed embroidery. It was completed in memory of my mother-in-law who had a similar one among her things. This piece continues my "Women's Work" series that celebrates the unknown women who created beauty as well as utility in their everyday things.
Polymer photogravure, 8 x 11.25, 2023, 1/3
Shown at Open Loop 2024: Lay of the Land
at Form & Content Gallery, guest juror, Alexandra Beaumont,
February 29 – April 6, 2024
Polymer photogravure, 7.75 x 10.5, 2024, 1/3
Shown at Open Loop 2024: Lay of the Land
at Form & Content Gallery, guest juror, Alexandra Beaumont, February 29 – April 6, 2024
Polymergravure print, 4x5 with plate mark, edition of 10, 2021
I shot this image in the early 80’s with a 4x5 camera as part of a series of old signs I liked in my then new home of Minneapolis. It was a thriving diner, a landmark in the neighborhood and persisted through several owners, recessions and redevelopment. This historic facade was burned to the ground in the May 2020 riots following the murder of George Floyd. I found it in my archives and chose to present it as a negative (reverse) image. It’s a love letter to my adopted home, full of sorrow and hope that we will remember and learn.
Shown at The Big Tiny Show at Kolman Reeb Gallery, January 13 - February 3, 2024. 2 remaining from edition of 10.
Wet cyanotype diptych, 20 x 30, unique print. SOLD
Made from elephant ear leaves from my garden damaged in the epic August hailstorm of 2023 that was centered in Minneapolis over my neighborhood.
Shown at Northern Lights 50th annual juried exhibition at White Bear Center for the Arts,
February 19-March 29, 2024.
Photo Polymergravure, 7.25 x 5.25, 2023
Shown at Prints on Ice, Highpoint Center for Printmaking, Dec 1, 2023 - Jan 6, 2024
Photo polymegravure, 6 x 4.5, 1/1, 2023
From my collection of Redwing art pottery. This line, called Prismatique, was designed by Belle Kogan in 1962.
Shown at Prints on Ice, Highpoint Center for Printmaking, Dec 1, 2023 - Jan 6, 2024
Photo polymegravure, 6 x 4.5, 1/1, 2023
From my collection of Redwing art pottery. This line, called Prismatique, was designed by Belle Kogan in 1962.
Shown at Prints on Ice, Highpoint Center for Printmaking, Dec 1, 2023 - Jan 6, 2024
Cyanotype on western paper, 15” x 20”, 2023
Made from images I photographed in Granada, Spain in 2022. This print was shown at Hot Off the Press, at Highpoint Center for Printmaking, August 4 - September 9, 2023.
Cyanotype, transfer prints and hand coloring on fabric, 38” x 31”, 2023
I began this piece when I was confined with Covid in my backyard last year with materials I had at hand. I added the transfer printing with an intaglio press later and finished it recently with some hand coloring in chalk.
Shown at Hot Off the Press, at Highpoint Center for Printmaking, August 4 - September 9, 2023.
An experimental monotype made from repurposed materials to be further explored in a workshop I'm co-teaching this winter.
Blind embossed monotype, 18 x 24, 2022
Printed on hand made and hand dyed paper by Mary Hark of Hark! Handmade Papers
I've got a whole stack of this delicious paper to keep working with.
2 plate intaglio with soap ground and hard ground etching, 6x8
I’m eager to get back to work from the Advanced Intaglio class I took with Nicole Sara Simpkims @scylla_and_circe_press after her wonderful 2022 McNight Printmaking fellowship exhibit at Highpoint ended in March 2023. So inspiring!
2 color soft ground etching, 4x6, artist’s proof
Drawing through the soft ground
Inking the plates
Trapped tail registration method
I’m also excited to be working with some wonderful paper made and dyed by the amazing Mary Hark of Hark Handmade papers. click on the link to learn more about Mary’s incredible work and career. More to come!
24 x 18, 4 color monotype, 2022
Printed on a vintage found paper, with plates made from recycled packaging materials, 2022.
Created after a workshop with visiting artist and McKnight fellow, Fidencio Fifield-Perez.
11 x 14 each, collagraph monoprints on various papers, 2023
This can be framed together as a triptych or framed individually and hung together .
Collagraph ( a la poupée), 15”x21”, 2019 SOLD
I took a six week workshop at Highpoint Center for Printmaking to learn the collagraph printmaking technique with the talented artist Mike Marks.
Collagraph with relief roll, 15”x21”, 2019
Collagraph with found paper chine-collé, 15”x22”, 2019
Collagraph, monoprint, 22x28, SOLD
Collagraph with relief roll, 22”x30”, 2019, SOLD
Collagraph with overprint, 15”x22”, 2019
Collagraph, 14”x14”, 2019
Mono means one, and these prints are produced using processes that result in a unique artwork each time. Some of the methods I’ve been experimenting with can be done without a press in my home studio.
Often combined with other types of printmaking, monoprinting can sometimes result in happy accidents!
20.75 x 27, monotype with screen print overlay, 2024
20 x 26, Cyanotype with screen print overlay on tissue, 2024.
Floating mount on western BFK sheet, no plate mark. The top edge is adhered via chine-collé.
22.5 x 25.5, Cyanotype with screenprint overlay on tissue, 2024
Mounted with chine collé to western BFK sheet. Plate mark 2 inches away from edge of sheet.
15 x 19, Monotype with screenprint overlay, 2024.
From an ongoing series of photos of skies in my neighborhood taken on walks to the studio.
Monotype with weaving, 13” x 22.5”, 2022
"Drifting" Monoprint diptych 11” x 7”
This piece is on view through Dec 11, 2020 in the virtual Pandemic Art Annex in the Catherine G. Murphy Gallery at St. Catherine’s University. This was an open call supplement to the exhibit Pandemic Art Lessons: A Women's Art Institute Online Initiative.
“Sunbeams”
Monoprint diptych, 7 x 11, 2020
$65
Screenprint on unique hand-dyed rice paper (Orizomegami)
13.5 x 13.5 $55
Screenprint on unique hand-dyed rice paper (Orizomegami)
13.5 x 12.5 $55
These prints are made with iron salts and ultraviolet light. The process was discovered in 1842 and popularized by Annie Atkins, a British botanist. It was also used for architectural blueprints before the digital era, and is currently enjoying a revival in the printmaking world. Details under each image.
Cyanotype, 20 x 30, unique, 2023
From plants damaged in severe hailstorm on 8/11/23 in Minneapolis.
Cyanotype prints, 11.5 x 48, 2023
Made from the leaves of hosta plants that were hail-damaged during a storm in Minneapolis on August 11, 2023. These are available to be framed together as a triptych or as individual prints.
24 x 20, Cyanotype on washi with 2 color screen print overlay, 2024
18" x 24", cyanotype, 2022
Printed on vintage washi paper. Part of a series, "Grandma's Hankies" with title derived from floriography (the secret language of flowers), popular during Victorian times. Specific flowers had different meanings and were used to express feelings not to be spoken aloud in proper society. The flower is the anemone, which meant forsaken love and was one of the symbols of Aphrodite in Greek mythology.
Cyanotype print, 15.5” x 11”, 2022
Printed from my original 4x5 negative shot in 1983 with a view camera on location. The little dog just sat in the doorway the whole time it took me to set up. This print was in the January, 2023 Prints on Ice exhibit at Highpoint Center for Printmaking in Minneapolis.
Cyanotype prints, 16.75” x 12.25”, 2022
Two-sided cyanotype print that is mounted on a rod that hangs from the ceiling and spins to allow viewing of both sides. Unique prints, made outdoors with the sun.
Hanging from the ceiling in the Highpoint Center for Printmaking Gallery
The piece turned in the air currents so the viewer could experience both states of time.
This was the set up of the objects I used to make the print. The “house” was a rusty piece of metal I found in the street.
Cyanotype, 10 1/4” x 13 1/4”, 2022 SOLD
Made from an early 20th century found photograph that was used in a newspaper ad for Dayton’s Department Store in Minneapolis. This print was shown at Hot Off the Press, at Highpoint Center for Printmaking, August 4 - September 9, 2023.
Cyanotype on western paper, 15” x 20”, 2023
Made from images I photographed in Granada, Spain in 2022. This print was shown at Hot Off the Press, at Highpoint Center for Printmaking, August 4 - September 9, 2023.
Cyanotype, transfer prints and hand coloring on fabric, 38” x 31”, 2023
I began this piece when I was confined with Covid in my backyard last year with materials I had at hand. I added the transfer printing with an intaglio press later and then finished it with some hand coloring in chalk.
I was introduced to this process at a workshop by Keith Taylor, who has been using it for over 20 years. Since my early training was in fine art photography versus drawing, I was immediately drawn to it as a way to work with the images I still shoot every day. I have a big archive of imagery to play with and a long way to go with these.
Polymergravure print, edition of 5, 2021, 8x10 with plate mark
I shot this image in the early 80’s with a 4x5 camera as part of a series of old signs I liked in my then new home of Minneapolis. It was a thriving diner, a landmark in the neighborhood and persisted through several owners, recessions and redevelopment. This historic facade was burned to the ground in the May 2020 riots following the murder of George Floyd. I found it in my archives and chose to present it as a negative (reverse) image. It’s a love letter to my adopted home, full of sorrow and hope that we will remember and learn.
Photo polymergravure, 8 x 11.25, 2024
A small edition of 3 is available on 2 types of paper
Photo Polymergravure, 8 x 11 with plate mark, AP, 2024
Photo Polymergravure, 7.25 x 5.25, 2023
Polymergravure, 8”x10”, artist’s proof, NFS
This is the first of what will be a series, tying together three of my interests: pottery, printmaking, and still-life photography. This vase was designed by Belle Kogan for Redwing Pottery in 1960 as part of the Prismatique line of art pottery. It is shape number 796. Belle was an early female product designer who, along with the more well-known Eva Zeisel, did work for various potteries.
Photo polymegravure, 6 x 4.5, 1/1, 2023
From my collection of Redwing art pottery. This line, called Prismatique, was designed by Belle Kogan in 1962.
Polymergravure, 10 x 8.5, 2023, artist proof
Polymergravure, 1/5, 6”x6”, SOLD
This piece was in my second Highpoint Co-op show (Prints on Ice 34) and the edition is not yet finished, so inquire if interested. I will be printing it again.
Polymergravure, 1st edition of 3, 8.5”x8.5” SOLD
Polymergravure, 6”x6”, matted and framed 13” x13”, NFS
I made this for my friend Chris, who graciously agreed to let me show it. This can be editioned if there is additional interest.
Polymergravure, 3/5, $100
This motel near Albuquerque was featured in the the series Breaking Bad
Polymergravure, edition of 3, 8”x8” on 14” x 14” warm white paper $115
Composite polymergravure, 20” x 15”, 3/7, SOLD
A photogram is made without a camera by placing objects directly onto the surface of a light-sensitive material. For these prints I used this technique to create polymer plates, then printed them using traditional intaglio methods.
This little diptych was displayed in Japan as part of the Awagami International Miniature Print Exhibition in 2021. This is an international exhibit held every other year to promote the cultural treasure of handmade washi paper. The pictures below are from inside the darkroom while I was making the plate.
Polymergravure photogram, 9 x 12, 2018 SOLD
Polymergravure photogram diptych, 2021
9.3cm x 20.7cm, artist’s proof
I save scraps and interesting objects to experiment with, including some found vintage negatives, which I used as contact prints in this piece.
Here is another plate being arranged on the vacuum table in the darkroom before exposing to ultraviolet light.
Polymergravure photogram diptych, 2021
9.3cm x 20.7cm
Here’s the print I made from the plate in the photo above. It was inked and printed like a traditional intaglio plate.
Below is some older work using this same method.
Polymergravure photogram, 12” x 15.5”, 2019 SOLD
Polymergravure photogram, 12” x 15.5”, 2019
I did a screenprinting intensive at the Minneapolis College of Art and Design to learn to work on fabric. I made a 3 layer design from a photograph of a mushroom and printed it in several colorways on different substrates. Scroll down for the process and inquire if interested, there are several available.
The name came from a friend undergoing cancer treatment who recognized the mushroom in the original photo as a maitaki, long known to have healing powers in non-western medicines.
Screenprint on paper, 2019, $55
Screenprint on paper, 2019 $55
Various colorways on different papers, drying.
These colorways were printed directly onto stretched linen pillowcases.
Stretched linen fabric and pillowcases drying.
Black/white/pink on taupe linen
Black/white/gray on white linen
Since printing this design directly on fabric is difficult, I made a number of these on fusible interfacing to make “patches” that could later be ironed onto already sewn clothing. I do have a few of these available for sale. Inquire on the contact page.
I did end up sewing this patch on after many wearings for reinforcement. I also heat set the ink before washing, but I’m still wearing it!
I’ve had the opportunity to study with three wonderful teaching artists at Highpoint Center for Printmaking and these pieces are the result. They are all drawing based, which is a departure for me. Some were on display at Highpoint’s 40th semi-annual co-op exhibition, in 2022. Look below each image for more info on the teachers and methods.
2 layer lithograph with blends, 2023
Early proofs of a piece I’m still working on in an aluminum plate lithography class taught by the Tamarind-trained Brian Wagner AKA @hedgebitch. They were one of the Jerome emerging artist recipients this year at Highpoint and I’m lucky to be learning from this amazing person!
1/5, 4 color lithograph, 9.5 x 12, 2022
The black image layer was drawn on the stone with color added by etching and printing 3 more color layers, each time destroying the one before. This litho with Sharpie workshop was taught by the wonderful artist, Lila Shull, @cave.woman.
1/5, Lithography and Gicleé print, 9.5 x 12, signed on the back
This was made by printing the black layer over another drawing made digitally and output on a 9-color inkjet printer. The stone has been ground off so no more can be made. The image speaks to my long-standing interest in people and their things.
This is the stone, with the black layer after the first etching.
2/5 VE, 3 color photolitho, 11.5 x 17
The image is based on a memory of a trip to the gardens of the Royal Alcazar in Seville, Spain.
This print was made by painting the image for each color onto a transparent film then exposing it onto a photo-sensitive plate. Each plate is then treated, inked and printed like a traditional lithography stone. The class was taught by the talented artist Grace Sippy. @grace.sippy
The litho press
I took an advanced intaglio class from joshbindewald.com using traditional copper plates and various etching methods. Loved the process and can’t wait to get back to it!
This is my first copper plate I used to sample different etching techniques.
1/5 VE, Intaglio with etching, drypoint, spit bite and aquatint, 4 x 5 image on 11 x 15 paper
This was made using various traditional methods of etching a copper plate. The title reflects my mood about the state of things as well as the difficulty in knowing when to stop experimenting!
1/10 VE, Aquatint, Etching, and Drypoint, 6 x 8 image on 11 x 15 paper
This intaglio print was made by etching a copper plate using various traditional techniques including aquatint. I was trying to capture the transparency of the actual objects as well as their lyrical quality. I printed a variable edition in different, related colors.
The work in this section was done in 2021, after Highpoint’s printmaking co-op reopened to members with full pandemic protocols in place. I enjoyed making photograms using polymergravure plates, as well as continuing my work with found and vintage imagery.
Some of these pieces can also be seen and purchased in person in the artist’s racks at Highpoint Center for Printmaking, or please inquire on the contact page about anything you see here. Some unique impressions may be sold, but similar ones may be available.
5.25”x11.5”, State proofs
From found vintage printing plates of men’s fashion illustrations by an unknown artist. Relief printed on etching press. Individual proof prints mounted on handmade paper backers.
1/1, 22” x 15”, relief prints, signed on front SOLD
Found vintage newspaper cuts of men’s fashion illustrations. Relief rolled, printed on individual sheets sewn to handmade backing paper with tailor’s tack stitch.
I chose to present these former commercial images in a “fine art” fashion. Kudos to the unknown original artist of these beautiful drawings!
1/1, 22.5” x 15.25”, signed on front
Found vintage newspaper cuts of men’s fashion illustrations. Relief rolled, printed on etching press, 5 up. Kudos to the unknown original artist of these beautiful drawings!
1/1, 22.5” x 15.25”, signed on front
Found vintage newspaper cuts of men’s fashion illustrations. Relief rolled, printed on etching press, 5 up. Kudos to the unknown original artist of these beautiful drawings!
Polymergravure print, edition of 5, 2021
8x10 with plate mark
I shot this image in the early 80’s with a 4x5 camera as part of a series of old signs I liked in my then new home of Minneapolis. It was a thriving diner, a landmark in the neighborhood and persisted through several owners, recessions and redevelopment. This historic facade was burned to the ground in the May 2020 riots following the murder of George Floyd. I found it in my archives and chose to present it as a negative (reverse) image. It’s a love letter to my adopted home, full of sorrow and hope that we will remember and learn.
Polymergravure print, edition of 10, 2021
4.25 x 5.25 with plate mark
I made this one the same size as the physical negative. You can see the marks from the clip the piece of film hung from to dry after processing.
Polymergravure photogram
Artist Proof, 16.5 x 20.5, on washi, 2021
3 plates on a single sheet of Kitakata paper
This piece was on display in the “Northern Lights” juried exhibition at White Bear Center for the Arts from February 28 - April 7, 2022.
Polymergravure photograms, chine-collé on washi and handmade paper
15 x 15 each, unique, 2021
Photograms are made with an object and light, like a shadow. I combined this with the polymergravure process so I could make plates and print them on an intaglio press. The images are printed on thin washi paper from Japan and pasted to sheets of paper I hand-made from plant fiber. These are one of a kind in this form, but keep scrolling for more work made from the same plates.
Polymergravure photogram
10.5 x 12, artist proof, 2021
Polymergravure
11 x 14, artist proof, 2021
More botanicals and photogram fun, using some vintage katagami textile stencils, also from Japan.
Polymergravure photogram
10.5 x 12, artist proof, 2021
Polymergravure photogram
13 x 19.5, artist proof
There were piles of these leftover compound leaf stems under my black walnut tree this spring, so I made a plate. I like how they drift in and out of focus.
Polymergravure photogram, chine-collé on handmade paper
22 x 30, edition of 2, 2021
Here I used the same plates on different papers; the large background sheet has inclusions of plant bits.
Polymergravure photogram, chine-collé
13 x 19.5, unique, 2021
The transparency of the washi paper gave me the idea to layer them.
Polymergravure photogram, chine-collé
13 x 19.5, artist proof
I picked these off the ground on a hike in William O’Brien State Park in early spring.
Polymergravure photogram
13 x 19.5, artist proof
Polymergravure photogram
13 x 19.5, artist proof
Polymergravure photogram
13 x 19.5, artist proof
I’ve recently begun a new series broadly titled “Women’s Work.” It brings together many of my lifelong interests in paper, textiles, craft and collecting. This piece was inspired by a big stack of unfinished vintage yo-yo quilt blocks I found at an estate sale. I’m using them and other found textile pieces to explore a variety of printmaking techniques.
Collagraph + chine collé with 100 pieces of paper
18.5”x18.5”
Scroll down to see the process of making this piece
“When Will We Ever Learn?”, 2020
Part of the Stand Up Prints exhibit at Highpoint Center for Printmaking, this piece was made shortly after the death of George Floyd at the hands of the police in Minneapolis. It’s printed on both sides of a vintage paper dress from 1968 that I found at a local junk shop. These dresses were a fad when I experienced riots that occurred in my hometown after the assassination of Martin Luther King Jr.
The imagery is taken from the recent events in Minneapolis, and includes the iconic raised fist emblem. On the back is a tracing of the original “Say Their Names” mural by artist Mari Hernandez that was painted on the street near the George Floyd memorial and published in the June 28th issue of the New York Times (aerial photo credited to LeShon Lee). It has since been added to and altered. The title is a line from the song “Where Have All the Flowers Gone” by Peter, Paul and Mary.
Quarantine Crazy Quilt, 2020
30 x 50, digital output, screen print, collage
I use my phone camera as a sketchbook, recording what I see in my daily life. This year the photographs reflect the both the impact of the pandemic and the protests that happened after the death of George Floyd. I made a paper quilt from the images I gathered in June and made textile-like repeat patterns from them to reflect the cacophony of events and emotions I experienced.
The physical quilt was on view at Highpoint Center for Printmaking in the “Prints on Ice 2020” show and can still be seen on their website.
My inspiration includes all the unknown women who have worked their everyday scraps into beauty with utility. I’ve also been influenced by the remarkable quilt work of Rosie Lee Tompkins, who’s retrospective can be seen at BAMPFA online.
The individual squares are digitally printed on Kozo paper, mounted on a backing, and then screen-printed with stitching drawn in a “crazy-quilt” style.
This is a vintage crazy quilt square that I collected showing the type of embroidery that inspired me. I like how the hand of the stitch-maker is directly reflected.
There's a story behind each square...scroll down if you are curious.
This is a t-shirt design that my daughter produced with her company to benefit My Block, My City, My Hood in Chicago.
I have a big, shady perennial garden that is having a very good year. I’ve been spending a lot of time there. This is a hosta plant after a rain.
This is another benefit poster from Globe Letterpress at MICA in Baltimore, printed in their signature florescent rainbow roll. My daughter went to school there and I have also worked in letterpress.
Lots and lots of cooking. This is red cabbage.
This was on a wall at the George Floyd memorial at 38th and Chicago in Minneapolis on the day of his funeral.
An unusual sport of wild ginger in my garden that is reliably variegated. I have thought of trying to get a patent on it but it’s complicated and expensive.
The sky out back after a storm.
A wonderful new-to-me piece of Red Wing art pottery designed by Charles Murphy.
As seen on a walk in the nearby Lakewood Cemetery.
Pine needles and sky on a walk.
Wishful thinking on a postcard in my studio.
Old vacation photo of me from 1987 that a girlfriend recently found and sent. Check out the vintage bathing suit I was wearing. It had boning and a zipper!
As seen on a walk in the neighborhood.
From a list of names of people killed by police written on the street near Cup Foods in Minneapolis.
Vintage brass X stencil.
Amazing nature. Why are we wrecking it?
Just a little of the response by artists on the boarded up buildings in my neighborhood.
A beautiful new Itoh peony called Kopper Kettle I got for Mother’s Day.
Prisoners in our homes, but lucky to have them.
A stencil of George Floyd, on the ground near his memorial at 38th and Chicago Ave. in Minneapolis, taken on June 4th, 2020.
“Change is Coming” graffiti at the George Floyd memorial from June 4, 2020. I hope so.
Nature’s sky with human overlay. Will we learn from this?
During the pandemic I bought a tiny 3D printed intaglio press from a Kickstarter project. There was an open call for artists using these presses and I made an edition for the exchange. The prints were exhibited all over the world and were published in a book.
Variable edition, 7 x 7cm, drypoint & chine collé, 2022
Each print was signed and numbered and the package was sent off to Germany by the deadline. Check my post on Instagram @cincybicks to see what I got back.
Making the plate using a thin sheet of plastic.
Inking the plate
The inked plate on the bed of the press
Pasting the dyed gampi paper that becomes the background color
Carefully aligning the pasted paper on the inked plate
Running it through the press
The reveal!
Making more plates with milkweed
Managed a small edition, will get back to this in winter!
