Artist 1: Entry 1

Ritual for Allowing Safe Passage, 2018

Medium: Intaglio with hand stitching

Size: 30.5” x 22.5”

Description/Display Statement:

Unique photo intaglio print with hand stitching on handmade Thai paper.

Another world is possible but should be invited, created with thoughtful ritual to allow its manifestation and safe passage to those traveling there.

From the Cairns series. In the hiking and trekking communities cairns are stacks of rocks used as navigational markers for clarifying trails in wilderness. This is an apt metaphor for navigating other or new worlds.

Special Installation Needs:

Designed to be hung unframed with magnets only at the top of the print to allow for gentle movement of the paper and the hand stitching to be seen.

Artist 1: Entry 2

Scending, 2018

Medium: Intaglio with hand stitching and perforations

Size: 30.5” x 22.5”

Description/Display Statement:

Unique photo intaglio print with hand stitching on handmade Thai paper.

Ascending or descending from potential worlds. A tenuous connection.

From the Cairns series. In the hiking and trekking communities cairns are stacks of rocks used as navigational markers for clarifying trails in wilderness. This is an apt metaphor for navigating other or new worlds.

Special Installation Needs:

Designed to be hung unframed with magnets only at the top of the print to allow for gentle movement of the paper and the hand stitching to be seen.

Artist 1: Entry 3

Volunteers, 2018

Medium: Intaglio with hand stitching and perforations

Size: 30.5” x 22.5”

Description/Display Statement:

Unique photo intaglio print with hand stitching on handmade Thai paper.

Volunteers will be needed to create this new world. Maybe the way volunteer plants choose odd corners of the garden to flourish.

From the Cairns series. In the hiking and trekking communities cairns are stacks of rocks used as navigational markers for clarifying trails in wilderness. This is an apt metaphor for navigating other or new worlds.

Special Installation Needs:

Designed to be hung unframed with magnets only at the top of the print to allow for gentle movement of the paper and the hand stitching to be seen.

Artist 2: Entry 1

Entry 1.

From Darkness, There is Light, June 1, 2022

Medium: 3D paper work, monotype print with Akua inks on Legion Stonehenge Paper – Steel Gray

Size: 19” wide x 36” high

Description/Display Statement:

Imagine another world

where there is nothing to kill or die for.

Imagine no possessions

with no need for greed or hunger.

We can all be dreamers

to make the world one.

We will get from here to there.

Special Installation Needs:

Artist would prefer to hang the work on the wall of the gallery. The space between the parts of the work and the position on the wall is important to the visual impact of the work. Work will be hung by slender sewing pins.

Artist 3: Entry 1

Refugee Forest I, 2022

Medium: Silkscreen, Intaglio

Size: 3”x3” image, 10”x12” frame

Description/Display Statement:

Refugee Forest I – is part of the cycle that contains 4 prints. Work portrays the devastating struggles and challenges faced by the refugees during the ongoing war in Ukraine. Millions of people were forced to leave their homes and flee to different European countries. Many of them were in hiding for weeks in dark basements without heat, electricity, running water and proper amount of food trying to survive the terror of war. Many of them run through unknown forests or walk for endless kilometers to get to safety.

Another World is Possible is the world without violence and terror. It is the world where people have their freedom and land, where children are safe and families are reunited.

All profits from sale of the print will be sent to support Ukrainian children and their mothers in the United States and Poland.

Special Installation Needs:

None

Artist 3: Entry 2

Refugee Forest II, 2022

Medium: Silkscreen, Intaglio

Size: 3”x3” image, 10”x12” frame

Description/Display Statement:

Refugee Forest II – is part of the cycle that contains 4 prints. Work portrays the devastating struggles and challenges faced by the refugees during the ongoing war in Ukraine. Millions of people were forced to leave their homes and flee to different European countries. Many of them were in hiding for weeks in dark basements without heat, electricity, running water and proper amount of food trying to survive the terror of war. Many of them run through unknown forests or walk for endless kilometers to get to safety.

Another World is Possible is the world without violence and terror. It is the world where people have their freedom and land, where children are safe and families are reunited.

All profits from sale of the print will be sent to support Ukrainian children and their mothers in the United States and Poland.

Special Installation Needs:

None

Artist 3: Entry 3

Unity, 2020-2022

Medium: Silkscreen on waste paper

Size: 20”x80”

Description/Display Statement:

Unity – is a paper installation created with a silkscreen technique on waste paper scraps.

Unity represents diversity, equity and inclusion, the world with no place for social injustice and racial discrimination. Another World Is Possible if people come together as a society, learn how to live, work and coexist together to unite no matter the color of their skin, social or gender status.

I am interested in creating a 3-dimensional installation that brings us together as ONE. I play with tones of greyscale value from delicate shades of grey to the rich blacks throughout the installation to emphasize the need for justice, inclusion and unity, preserving diverse identities while integrating, and learning how to coexist with other ethnic groups.

Special Installation Needs:

The paper installation can be presented on the floor or on the pedestal. It is important to work from darkest colors (bigger pieces) to lightest pieces (smallest elements) creating 3-D composition.

Artist 4: Entry 1

Repurposeful, 2022

Medium: Silkscreen on vacuum cleaner packaging materials (cardboard and unknown plastic) and extruded paper pulp packaging material

Size: 3 11”x 14” silkscreen prints on cardboard; 3 11”x 14” silkscreen prints on plastic packaging material; 2 11”x 14” pieces of extruded paper pulp packaging material

Description:

My piece has three components (with a total of eight pieces) that all derive from the surprising amount of disposable packaging material that followed from the purchase of a new vacuum cleaner. Although some of this material is recyclable, I wondered if it might be possible to skip the recycling and move ahead to repurposing the material as prints whose subject matter was in fact generated by the packaging material itself. I photographed the extruded paper pulp packaging and digitally manipulated the images before printing them on acetate and exposing them onto silkscreens. The resulting prints are thus completely self-reflexive, generated from packaging and printed on part of that same packaging. The prints complete a sort of cycle, if you like. The extruded pulp packaging was painted white to act as a kind of blank surface for further art, perhaps in the form of collaged bits of rejected prints of the packaging. It’s a different kind of recycling; nothing actually leaves the house in the end.

Special Installation Needs:

I think it is important for viewers to see the extruded pulp packaging itself, otherwise they will have no idea how the imagery on the other pieces of packaging was generated. I propose to include two pieces of pulp packaging, painted white; three 11 x 14” silkscreen prints on cardboard packaging; and three 11 x 14” prints on the plastic sheets that wrapped individual components of the vacuum cleaner. In the interests of minimizing exhibition space, the pieces can be stacked: three prints on plastic material, three prints on cardboard and two pieces of paper pulp packing (in that order, top to bottom). With 1” between each print, the total width would be c. 38”, allowing for 1.5” on either side of the groupings of three. The prints on plastic sheets and cardboard should hang properly with the ZMP magnet/washer system; the two pieces of extruded paper pulp packaging I am not yet sure about. (These last may need hooks or brads or small nails.)

Display Statement:

This piece is about a different kind of recycling. I was taken aback by the amount of packaging that accompanied the purchase of a new vacuum cleaner in spring 2022. I decided to photograph the extruded paper pulp that held the vacuum in place in its box, digitally manipulate the resulting images and then use them as the basis for multi-color screenprints, printed on both the cardboard packaging with its irregular surfaces and striations and the slippery plastic sheets that wrapped individual vacuum components. The resulting prints are abstract but not divorced from the packaging itself (exhibited below), self-reflexive and, more importantly, practical in what I hope is a mindful way: none of the packaging materials left my home and instead were repurposed for education and enjoyment.

Artist 5: Entry 1

Imagine, 6/30/2022

Medium: Monotype construction

Size: 39” wide x 22” tall

Description:

A monotype construction symbolizing sea, land and sky held together by widely differing entities

Special Installation Needs:

No special installation needs other than multiple magnets. Please note: I am mindful of space considerations, so I am submitting two similar pieces of differing size. However, if possible, I would prefer the larger piece to be displayed.

Display Statement:

Planetary changes now multiply at a frightening rate. Life will surely adapt, though many species have died and will die. If humankind is to survive, I believe it will require us to embrace our better selves, employing our intelligence with a loving attention to the connectedness of all things, and responsibly assuming a more balanced position in the web of life — as caretakers rather than exploiters — instinctively living in joyful harmony with nature and each other.

Artist 5: Entry 2

Come Together, 6/30/2022

Medium: Monotype construction

Size: 26” wide x 22”

Description:

A monotype construction symbolizing sea, land and sky held together by widely differing entities.

Special Installation Needs:

No special installation needs.

Display Statement:

Planetary changes now multiply at a frightening rate. Life will surely adapt, though many species have died and will die. If humankind is to survive, I believe it will require us to embrace our better selves, employing our intelligence with a loving attention to the connectedness of all things, and responsibly assuming a more balanced position in the web of life — as caretakers rather than exploiters — instinctively living in joyful harmony with nature and each other.

Artist 6: Entry 1

Landscapes in Potentia, 7/22

Medium: Monotype Prints

Size: 26” x 23” (x2)

Description:

An installation/diptych of monotype prints on off-white paper with akua ink. Titles of individual pieces: Landscapes in Potentia I (yellow/red), and Landscapes in Potentia II (black/orange). Prints will be signed prior to installation if accepted.

Special Installation Needs:

Can be installed side-by-side or in a column, in order of I then II.

Display Statement:

These prints are an extreme representation of an apocalyptic future. I wanted the visuals and colors of these prints to be uncompromising and unapologetic: look at us, do you want this? From these premonitions of potential worlds, what can we learn? How can we prevent the worst if we don’t see what it could be?

Alternatively, in presenting such blunt visions, the hope is to see a potential apocalypse not as End but as Transition; all we know must be dismantled entirely to get beyond apocalypse into a renewed future. Is an apocalypse of the way of the current world the only way to a new one? What new and better worlds might come next, should apocalypse not be prevented?

Artist 6: Entry 2

Dreamscapes/Visions, 4/22

Medium: Monotype Prints

Size: 7.5”x5.5” (x4)

Description:

An installation of four miniature monotype prints on white paper with akua ink. Titles of individual pieces: Dreamscape I (black/orange), Dreamscape II (orange/red sun), Visions I (yellow/black), Visions II (red on white). Prints will be signed prior to installation if accepted.

Special Installation Needs:

Installed in the square of four as shown.

Display Statement:

In an introverted approach to apocalypse, these prints ask us to look at our inner selves before we look outward. In order to heal our outer world we must first turn inward: what horrors and visions play out internally that may echo the external crises? What can we first change within in order to change things outside? After the self-apocalypse, the total collapse, was it worth it for a chance to rebuild? How can these questions we ask of ourselves help us grapple with the world, or the end of it, as we know it?

Artist 7: Entry 1

Human Suffering and Wonder, July 4, 2022

Medium: monotype collage

Size: One piece is 7” x 7”, the other is 9” x 9”

Description:

Two prints hung side by side that visually interpret the expression of a poem by Anna Akhmatova: “Everything is Plundered, Betrayed, Sold.”

The essence of the poem offers the idea that it is not a changed world that is the vision (although we must always work for positive change). Our intrinsic human reaction to “what is,” no matter how difficult and challenging, can help us endure great suffering and even find redemption.

Rilke says, “Every happiness is the child of a separation it did not think it could survive. And Daphne becoming the Laurel dares you to become the wind.”

Essentially, as we work to improve our world, we see the beauty that is always present.

Special Installation Needs:

two prints side by side:

Human Suffering on the left, Wonder on the right

Display Statement:

“Everything is plundered, betrayed, sold,

Death’s great black wing scrapes the air,

Misery gnaws to the bone.

Why then do we not despair?

By day, from the surrounding woods,

cherries blow summer into town;

at night the deep transparent skies

glitter with new galaxies.

And the miraculous comes so close

to the ruined, dirty houses —

something not known to anyone at all,

but wild in our breasts for centuries.”

Anna Akhmatova

“Human suffering” and “wonder” co-exist.  We find freedom by accessing an intrinsic ability to endure, accommodate, and yes, even flourish.

There are challenges and heartbreak….but also the vital and energetic human spirit that redeems itself.

As we move through the forest, the sunlight comes through the trees.

Artist 8: Entry 1

The House in the Woods #14, 2019

Medium: monoprint collage

Size: 27” h x 18” w

Description:

two dimensional work on paper, 27” x 18”

Special Installation Needs:

This piece is flat and can hang on a wall with magnets.

Display Statement:

The House in the Woods #14

Monoprint Collage

27” x 18”

This work is part of an ongoing series inquiring into the intersection of the natural world and human habitation. My inspirations here are the regenerative forces of nature, including human nature, in the face of the climate emergency.

Artist 8: Entry 2

House in the Woods, 2020

Medium: monoprint collage

Size: 22”h x 30”w

Description:

two dimensional work on paper, 22” x 30”

Special Installation Needs:

This piece is flat and can hang on the wall with magnets.

Display Statement:

House in the Woods #16

Monoprint Collage

22” x 30”

This work is part of an ongoing series inquiring into the intersection of the natural world and human habitation. My inspirations here are the regenerative forces of nature, including human nature, in the face of the climate emergency.

Artist 8: Entry 3

Summer Breeze, 2021

Medium: monoprint collage and inkjet photograph

Size: 19”h x 24”w

Description:

two dimensional work on paper, 19” x 24”

Special Installation Needs:

This piece is flat and can hang on the wall with magnets.

Display Statement:

Summer Breeze

Monoprint Collage and Inkjet photograph

19” x 24”

This work is part of an ongoing series inquiring into the intersection of the natural world and human habitation. My inspirations here are the regenerative forces of nature, including human nature, in the face of the climate emergency.

Artist 9: Entry 1

HUMAN: ANNIHILATION                NATURE: RESTORATION

July, 2022

Medium: Watercolor Monotype, Watercolor Collagraph, Monotype, Collage on Rives BFK

Size: 17.75” x 24.3”

Description:

This is a diptych. The piece to be shown on the left contains the explosion, the right piece has evergreen trees. Please hang with a 3/8" margin separating the two pieces.

Special Installation Needs:

Please hang with a 3/8” margin separating the two pieces

Display Statement:

This diptych of watercolor monotypes and collage juxtaposes the grandeur of the Alps with the horrors of WW1 and the healing power of nature.

One scene depicts ‘no man’s land’, the area between trenches in WW1, a wasteland filled with barbed wire, explosions, and death.

It symbolizes the effect of human consumption and greed on the planet, and our own future on it.

The adjacent view symbolizes the transformation that nature makes possible.  Left alone, the earth has an intrinsic capacity for renewal and rebirth.

Humans and Mother Earth working in concert enables the most magnificent existence.

One entity will lose when our intentions are conflicting.

History implies that it won’t be Earth.

Artist 10: Entry 1

Exploding World, 2022

Medium: Photopolymer Intaglio

Size: 7.5” x 7.5” (image) 13: x 16” (paper)

Description:

The print was made from two images superimposed. The first was developed from an inkblot using a Toyobo photopolymer plate. The second image was made from an ink drawing of a dragonfly, also using a Toyobo plate. These were printed on Hahnemuhle Copperplate paper (warm white).

Special Installation Needs:

No special needs. The print will be framed and ready to hang.

Display Statement:

When I think of the future and what is possible, I begin with the present, where so many things are exploding at once. The ink blot image captures this for me…a time of destruction and dissolution. The dragonfly is emerging from an opening, a patch of light. No matter what we do nature keeps moving on and making new forms of beauty, with or without us.

Artist 11: Entry 1

Syllable Tokens, 2021

Medium: Woodblock print, pen and ink, pencil,

Size: 9” x 8.5”

Description:

Relief printing: carved woodblock background; monoprinting with masking using hand cut foreground shapes; Pen and ink notation drawing on transparent sheet with hand cut openings, overlaying print.

Special Installation Needs:

This piece is currently framed. If possible, it would be better to be hung framed: the overlaying paper is attached to the print and a backing board with grommets and is sensitive to air movement.

Display Statement:

Underlying language are complex rules that allow for an infinite number of possible expressions. This piece uses printed shapes from neolithic clay tokens–thought to be the precursors to cuneiform writing–along with an invented notational system of my own. No specific language or time is indicated, allowing the possibility of multiple interpretations and outcomes.

Artist 11: Entry 2

Metrical Phrasing, 2021

Medium: Pen and ink, pencil, etching, relief print

Size: 12” x 18”

Description:

Hand drawn notation on transparent sheet mounted on yellow background; collaged etchings, drawings, and relief print

Special Installation Needs:

This piece is drymounted onto mat board and might require extra magnets to hold. I could also send it framed if you prefer.

Display Statement:

An excerpt of story by Jorge Borges is encoded using a notational system I devised. The hand-written notation strips out the content and reveals only the underlying pattern of consonants and vowels. The result is overlaid with collaged pieces from prints which suggest interlocking components and unfolded forms. These both mask parts of the text and suggest possible outcomes and interpretations.

Artist 11: Entry 3

Lexical-Functional, 2021

Medium: Etching, pen and ink, pencil

Size: 8” x 11”

Description:

Hand drawn notation on transparent sheet mounted on green background; collaged etchings.

Special Installation Needs:

None

Display Statement:

The notation in this piece represents part of a story by Jorge Borges about Tlon, an alternate world that infiltrates our own. The two facing pages, kept separate at the top of the piece, are linked at the bottom with collaged etchings representing two possible futures.

Artist 12: Entry 1

Breath Over Water, Red, Umber, and Cool Gray, 2022

Medium: Woodcut

Size: 16” x 12”

Description:

Woodcut print on Rives Lightweight

Special Installation Needs:

None

Display Statement:

I am continually drawn to water and trees, connecting with nature in close observation.  Breath, inhale, and exhale, like a current of wind flowing on water, creates far-reaching ripples, stirring, expanding, awakening, and settling back to calm.  Exploring variation and change in color, tone, depth, movement and light becomes a metaphor for new possibility.

Artist 12: Entry 2

Pond Reflections Orange and Blue Light, 2022

Medium: Woodcut

Size: 12” x 9”

Description:

Woodcut print on Rives Lightweight

Special Installation Needs:

None

Display Statement:

I am continually drawn to water and trees, connecting with nature in close observation.  Breath, inhale, and exhale, like a current of wind flowing on water, creates far-reaching ripples, stirring, expanding, awakening, and settling back to calm.  Exploring variation and change in color, tone, depth, movement and light becomes a metaphor for new possibility.

Artist 12: Entry 3

Pond Reflections Burnt Sienna, 2022

Medium: Woodcut

Size: 12” x 9”

Description:

Woodcut print on Rives Lightweight

Special Installation Needs:

None

Display Statement:

I am continually drawn to water and trees, connecting with nature in close observation.  Breath, inhale, and exhale, like a current of wind flowing on water, creates far-reaching ripples, stirring, expanding, awakening, and settling back to calm.  Exploring variation and change in color, tone, depth, movement and light becomes a metaphor for new possibility.

Artist 13: Entry 1

Mappa, 2022

Medium: Embossed cloth on paper with thread

Size: Series of 6 prints: 40 inches wide x 36 inches high

Description:

A series of 6 hand-pulled embossed prints with hand-stitching. The prints can be hung side-by-side or in a 3-over-3 grid, as shown.

Special Installation Needs:

White magnets will be provided.

Display Statement:

Mappa*

In building my other world, I looked to where I often spend time: in my romanticized past. Using cloth that my grandmother made from cotton twine, I explored the evolution of a new world. One that is peaceful and unspoiled. Where glaciers do not melt to rock and forests do not burn to ash. Where the pace is slow and tasks take as long as they take. Where the honest is elevated and kitchen twine is enticed to become beautiful.

* The word ”map” derives from the Latin “mappa,” a word meaning ”a cloth.”

Artist 14: Entry 1

Koyaanisqatsi, 2021

Medium: Letterpress

Size: 4.58” x 6”

Description:

Two block letterpress print on Cranes Crest 100% rag content paper.

Special Installation Needs:

None

Display Statement:

“Koyaanisqatsi” Hopi word meaning “life out of balance”. Need I say more? I always have hope.

Artist 15: Entry 1

Mariupol #1, 2022

Medium: Monotype

Size: 22″ x 30”

Description:

None

Special Installation Needs:

None

Display Statement:

How is it possible that in the year 2022, Russia can invade a peaceful, sovereign nation and wage grinding war on the civilian population with impunity? If this can happen, all that my generation has believed in, is null and void. Another world is possible, just not the one we had hoped for.

The last stand of Ukrainians holed up in the Azovstal steel plant in Mariupol is a tragedy and a harbinger of more to come.

This series of monotypes is uncomplicated and plain spoken. Direct mark making on a simple plexi plate connects me to the bare essentials of communication and expression.

Artist 15: Entry 2

Mariupol #4, 2022

Medium: Monotype

Size: 22″ x 30”

Description:

None

Special Installation Needs:

None

Display Statement:

How is it possible that in the year 2022, Russia can invade a peaceful, sovereign nation and wage grinding war on the civilian population with impunity? If this can happen, all that my generation has believed in, is null and void. Another world is possible, just not the one we had hoped for.

The last stand of Ukrainians holed up in the Azovstal steel plant in Mariupol is a tragedy and a harbinger of more to come.

This series of monotypes is uncomplicated and plain spoken. Direct mark making on a simple plexi plate connects me to the bare essentials of communication and expression.

Artist 15: Entry 3

Mariupol #6, 2022

Medium: Monotype

Description:

None

Special Installation Needs:

None

Display Statement:

How is it possible that in the year 2022, Russia can invade a peaceful, sovereign nation and wage grinding war on the civilian population with impunity? If this can happen, all that my generation has believed in, is null and void. Another world is possible, just not the one we had hoped for.

The last stand of Ukrainians holed up in the Azovstal steel plant in Mariupol is a tragedy and a harbinger of more to come.

This series of monotypes is uncomplicated and plain spoken. Direct mark making on a simple plexi plate connects me to the bare essentials of communication and expression.

Artist 16: Entry 1

Window To Another World, July 2022

Medium: Photopolymer Etching

Size: 11″ x 9″ inches

Description:

This photopolymer etching started life as a drawing with newspaper collage. It was overlayed with a photograph of the actual tree and then printed as an etching using the Direct To Plate Process.

Special Installation Needs:

None

Display Statement:

My work is about recreating respect for and connections to our threatened planet.

Artist 16: Entry 2

Interdependence, May 2022

Medium: Photopolymer Etching

Size: 16 x 40 inches

Description:

This photopolymer etching brought together 3 layers of cut paper to show the mycorrhizal root system.

Special Installation Needs:

None

Display Statement:

My work is about recreating respect for and connections to our threatened planet.

Artist 17: Entry 1

The Shift #2, 2021

Medium: Hard ground + surface roll

Size: Paper size:  22 53/64 H x 18 1/2 | Image size: 13 25/32 H x 9 27/32 W

Description:

Single print on paper

Special Installation Needs:

None

Display Statement:

No “another world is possible” without a shift.

The “natural world” is a central theme in my work. A natural world that looks familiar and recognizable, but has shifted into another state of being. With its own laws, its own physical appearance, its own history. A parallel world in which nature took back its righteous place. A world without human presence (or be it just a reference to its existence).

Artist 17: Entry 2

The Shift #3, 2022

Medium: Hard ground + surface roll

Size: Paper size:  22 53/64 H x 18 1/2 W | Image size: 13 25/32 H x 9 27/32 W

Description:

Single print on paper

Special Installation Needs:

None

Display Statement:

No “another world is possible” without a shift.

The “natural world” is a central theme in my work. A natural world that looks familiar and recognizable, but has shifted into another state of being. With its own laws, its own physical appearance, its own history. A parallel world in which nature took back its righteous place. A world without human presence (or be it just a reference to its existence).

Artist 17: Entry 3

The Shift #4, 2022

Medium: Hard ground + surface roll

Size: Paper size:  22 53/64 H x 18 1/2 W | Image size: 13 25/32 H x 9 27/32 W

Description:

Single print on paper

Special Installation Needs:

None

Display Statement:

No “another world is possible” without a shift.

The “natural world” is a central theme in my work. A natural world that looks familiar and recognizable, but has shifted into another state of being. With its own laws, its own physical appearance, its own history. A parallel world in which nature took back its righteous place. A world without human presence (or be it just a reference to its existence).

Artist 18: Entry 1

Signs of the Times, 2020

Medium: Monoprints/letterpress

Price: 30” x 48”

Description:

This grid of twelve monoprints is directly inspired by signs, banners, and shouted slogans from demonstrations, protests, and marches that I have attended over the past decade. The prints were made using letterpress and monoprint.

Special Installation Needs:

None

Display Statement:

When we protest, we take our individual fears, discontents, and hopes for a better future and join with others to demand systemic, collective changes that we believe will help us to make a better world. For me, both creating art and engaging in political and social protest are ways I can participate in changing the trajectory we are on as a nation and as a planet. This collection of monoprints is directly inspired by signs that I encounter as a politically active artist. The combination of creativity, resistance and community exemplified by protest art sustains my hope that another world is possible if we make it together.

Artist 19: Entry 1

“One Tribe”, July 2022

Medium: Drypoint on milk carton, Akua Ink and chine-collé

Size: 36 x 50 Centimeters  // 14.1732 x 19.685 Inches

Description:

“One Tribe”

With two recycling matrices that were the milk carton I create with drypoint technique many faces from different places that together nature flow side by side. With Akua inks I looked for a bright and bloody red that also reminded the life in the veins and a classic chine-collé of hand-made recycled paper creates a tribal symbol that goes from one matrix to another. The meeting point that recalls a fire, an animal, a ramification, an explosion and above all a connection between all the participants in the history of the universal tribe.

I print on Fabriano Tiepolo 100% Cotton paper and this is a unique copy for the use of chine-collé.

Special Installation Needs:

Print on a sheet of paper, does not require special installation.

Display Statement:

“One Tribe”

We are all the result of infinite loves and pains, we are part of a single gigantic tribe and only by remembering this reality we can imagine that: “Another World is Possible”. Communicating with each other, letting the blood that unites us flow, passing on stories and knowing and united flow in history for the sake of the future is the goal of survival.

We need to let our stories flow and confide in discoveries and traditions in search of that balance that alone can guarantee common happiness.

Artist 20: Entry 1

Steadfast, July 18, 2022

Medium: Video animation composed of monotypes

Size: Video: one minute 11 seconds(looped)/32” monitor plus possible display of original monotypes

Description:

This video animation is composed of monotypes that are digitally reproduced and sometimes manipulated in a digital drawing program. The parts are assembled in iMovie with audio added that is copyright free.

The animation is designed to play in a loop.

*I was unable to load my video file because it is too big for this application platform. Here is a dropbox link but if that isn’t sufficient, I can share the file with jurors in another way.

https://www.dropbox.com/s/y3e8sa4cx824qg1/tree%20animation%20with%20audio.mp4?dl=0

Special Installation Needs:

A.P.E. Gallery can provide a 32” monitor with headphones. The volume can be adjusted (lowered) to play without headphones or headphones can be available.

Alternatively, if necessary, I can provide a wall mounted 12” Nix Player that shows the animation without audio. Depending on the space in the show, I am also happy to show a group of the tree monotypes used for the video (see entry 1 and 2). The number of prints shown in a grid could range from 6, 8, 12 to 15

Display Statement:

Trees are beset by the effects of human civilization.

They’ve been removed, replanted, cherished, taken for granted, and destroyed.

And yet, they want to grow, want to provide safe havens, want to replenish the atmosphere in literal and aesthetic ways.

This animation is an expression of that vulnerability and stamina.

It’s composed of monotypes (one-of-a-kind prints) that are digitally manipulated in Procreate, a digital drawing program.

Technological limitations and possibilities frame the ways we can alter the effects of climate change and encourage forests and trees to survive and thrive.

Technological limitations also frame the way I made this animation.

Possibilities remain my hope.

Artist 20: Entry 2

Steadfast: monotypes, July 18, 2022

Medium: Monotypes

Size: Each print is 11″ x 15″, so a grid of prints can range from 33” x 30” for 6 prints, 44” x 30” for 8 prints, 44” x 45” for 12 prints, 55” x 45” for 15 prints

Description:

These prints that were used to compose the animation could be shown alongside the animation if there is space and interest.

I am happy to show groups of 6 8, 12 or 15 in grids.

Special Installation Needs:

Prints in grid are mounted adjacent to each other. (no space)

Display Statement:

Trees are beset by the effects of human civilization.

They’ve been removed, replanted, cherished, taken for granted, and destroyed.

And yet, they want to grow, want to provide safe havens, want to replenish the atmosphere in literal and aesthetic ways.

This animation is an expression of that vulnerability and stamina.

It’s composed of monotypes (one-of-a-kind prints) that are digitally manipulated in Procreate, a digital drawing program.

Technological limitations and possibilities frame the ways we can alter the effects of climate change and encourage forests and trees to survive and thrive.

Technological limitations also frame the way I made this animation.

Possibilities remain my hope.

Artist 21: Entry 1

Matilda, July 2022

Medium: photopolymer intaglio

Size: 5.75” w by 3” h, image; 10.75” w by 8” h, paper

Description:

The tension of the double bubble in this image, delicately balanced on the lips of a Scottish Highland cow named Matilda, represents the tension between my strong desire to believe that another world is possible and my no less strong fear that it is too late.  The fragility of the bubble reflects that of the complex interdependent physical and social systems that support life on our planet.  The landscape reflected in the bubble could be a path up the mountain or up the wasteland garbage heap.

Matilda, unlike the unfortunate cattle who are commercially raised, is cared for by her humans simply out of love without expectation of any material gain.  This is a glimpse of another possible (better) world.

Special Installation Needs:

None

Display Statement:

The tension of the double bubble in this image, delicately balanced on the lips of a Scottish Highland cow named Matilda, represents the tension between my strong desire to believe that another world is possible and my no less strong fear that it is too late.  The fragility of the bubble reflects that of the complex interdependent physical and social systems that support life on our planet.  The landscape reflected in the bubble could be a path up the mountain or up the wasteland garbage heap.

Matilda, unlike the unfortunate cattle who are commercially raised, is cared for by her humans simply out of love without expectation of any material gain.  This is a glimpse of another possible (better) world.

Artist 21: Entry 2

A Darker World, June 2022

Medium: photopolymer intaglio

Size: 10” w by 13” h, image; 15.25” w by 19.5” h, paper

Description:

single print

Special Installation Needs:

None

Display Statement:

As the title suggests, this print represents my dystopian view, founded on fears around the simultaneous destruction of our planet and dismantling of democracy at home and abroad.

Where the words are banned to be said

The flowers are not allowed to blossom

And the birds cannot sing freely

— Gulnisa Imin, a Uyghur-literature teacher and acclaimed poet jailed for her poetry, wrote these lines from a Chinese prison

Artist 22: Entry 1

Another Opening, 2020

Medium: litho monoprint with oil and gouache

Price: 39″ x 26”

Description:

This litho is of the gates of the Paris Museum of Fine Arts, with light emanating.

Above the gates is the Latin phrase roughly translated – “everyone is their own best hope.”

The print has no borders, and is printed on a kozo paper.

Special Installation Needs:

None

Display Statement:

This litho is of the gates of the Paris Museum of Fine Arts, with light emanating.

Above the gates is the Latin phrase roughly translated – “everyone is their own best hope.”

Artist 22: Entry 2

Prossible, 2018

Medium: monoprinted lithograph

Size: 37″ x 25”

Description:

On An-Jing paper, with borders all around. Size listed is paper size.

Special Installation Needs:

None

Display Statement:

This print is to be hung vertically, like a pendulum balanced between two outcomes.

Artist 22: Entry 3

Terracide – Now Playing!, 2022

Medium: monoprinted lithograph

Size: 40″ x 25”

Description:

The print is printed to the edge with no borders, on Kitakata paper.

Special Installation Needs:

None

Display Statement:

None

Artist 23: Entry 1

Past Repeating, July 19, 2022

Medium: Collage elements from wood blocks, sintra cutouts, and photopolymer images, on kitikata paper.

Size: 21.0 x 16.5 inches

Description:

I would very much like for this print to appear alongside my second entry- as a pair of worlds- this one hung on the right.

Special Installation Needs:

See entry 2, please.

Display Statement:

Composed as doors, portals, tiny windows and unknown floating elements, visual layers are made to carry remnants of the past repeating in the present. Recognizable elements float in this collage of prints embedded in prints. In this world the past lurches into the present. We did not recognize a crisis until we experienced its unmistakable repetition. When a similar bewildering pattern comes again and again, those repetitions become uncanny and frightening because they seem utterly beyond our control.  We can only look at this world in pieces, look and wonder: what next?

Artist 23: Entry 2

Precarious Futures, July 19, 2022

Medium: Collage elements from wood blocks, sintra cutouts, and photopolymer images, on kitikata paper

Size: 21.0 x 16.5 inches

Description:

I would like this print to appear just a few inches to the right the first print, treating them as a pair of worlds.  The overarching title is:  Possible Worlds: Past repeating/ precarious futures.

Special Installation Needs:

I would like the over all title to appear as well as the titles of the individual prints, so it’s clear that they are distinctive but related.  Also, two statements, please.

Display Statement:

We glimpse the promise of our humanity in the incalculable horizon of a time and a world we desire and can still create but in which we will not exist. The shapes are not meant to blend into the paper but to sit on its surface as distinctive elements, as if they could be moved into new configurations.  This is a world in which futures already there in the present borrow from the past, but do not simply repeat it.  This world of precarious possible futures is pure potentiality; it allows us to create promises and new possibilities for a world beyond ourselves.

Artist 24: Entry 1

Ruth Bader Ginsburg, 2021

Medium: Woodcut

Size: 9” x 12”

Description:

This print is part of an ongoing series of portraits of women in history who have had an impact on our world, many of whom are not as widely known as their achievements merit.  My impetus for starting this project began four years ago with the Brett Kavanaugh hearings, and my disillusionment with our political climate.  By dedicating their lives to a vision for a better world, these women demonstrate hope. That is what this series is about for me.  Each of the portraits in the series is accompanied by a poem written by a woman poet. If possible, in the exhibit, I would like to include the poem with its partner portrait.

Special Installation Needs:

Magnets on wall, no special instructions

Display Statement:

Ruth Bader Ginsburg (1933-2020) spent her entire life working towards the protection of human rights, with a particular focus on gender equality and women’s rights.  She served as a Supreme Court Associate Justice from 1993 until her death in 2020.

In addition to a brief bio I would like to include the accompanying poem, by Adin Thayer.

RBG’s collars

A varying circle of brilliant intent

graced the black-robed hall —

beaded collar for majority

opinions, velvet and glass

for dissent,  crocheted lace

and metal feathers,

gold for oral arguments.

There was a body,

a body of law,

about what we

could and

could not do.

She teased it apart

a step at a time

to give us not

ceiling but sky.

Like a moon,

slim beacon of dreams

we didn’t know we

could have, the meniscus

around her life’s brim

gleamed. Wearing justice

like a jewel one day,

the tatted fabric

of our lives the next,

she has left the rest

to us

Artist 24: Entry 2

Rachel Carson, 2022

Medium: Multiple block and color reduction woodcut

Size: 9″ x 12”

Description:

This print is part of an ongoing series of portraits of women in history who have had an impact on our world, many of whom are not as widely known as their achievements merit.  My impetus for starting this project began four years ago with the Brett Kavanaugh hearings, and my disillusionment with our political climate.  By dedicating their lives to a vision for a better world, these women demonstrate hope. That is what this series is about for me.  Each of the portraits in the series is accompanied by a poem written by a woman poet. If possible, in the exhibit, I would like to include the poem with its partner portrait.

Special Installation Needs:

No special instructions, magnets on wall

Display Statement:

Rachel Carson (1907-1964) is remembered more today as the woman who challenged the notion that humans could obtain mastery over nature by chemicals, bombs and space travel than for her studies of ocean life. Her prescient book Silent Spring (1962) warned of the dangers to all natural systems from the misuse of chemical pesticides such as DDT, and questioned the scope and direction of modern science, initiating the contemporary environmental movement.

Here is the poem by Rebecca Olander (this is almost a final draft!):

Thank You for Your Labors, Pioneer, Undertaken Often at Night

It is soothing, scientist, to think of the sand fleas,
and the ghost crabs that devour them, and the sea bass
that eat them, then the shark school circling,
and the remains of the fish tossed back in the jetsam
to the beach where the fleas flock to their food.
We can be comforted, deft lyricist, by your description
of moon-bewildered squid, how the swath of light
from the fullness finds them dashed upon the shore
in their panicked retreat, where the following morning
they serve as feast for scavenging gulls.
When we remember, beloved daughter, our own gone,
or you, by cancer, at 56, your mother might come to mind—
she typed your first manuscript to arrive famously without error
to its publisher—and we will know some things
can be managed by love and attention, and some can’t.
With your ode to ecology, Under the Sea-Wind, you urge us
to abandon human yardsticks, while the book itself survived
time’s ravages. You salvaged the original moldering illustrations,
forgotten in a warehouse in the midst of world war, to reprint
your masterpiece of sea, wind, migration, and change.
Rachel, you might be glancing backward at us
in our beautiful hell, driven not by fear, like Orpheus,
but by knowing we have not followed you into the sky or sea.
You could be draped in plumage splashed with cinnamon
and rust, like older sanderlings on their return flight.
You dwell in the shifting places, the microscopic,
the abyss. You knew it was our own folly, not any god,
that would trap us in the dark. Your eye, sharp
as a sandpiper rooting out a fiddler, took note. So many
tiny black journals. So many hours in the field.
You are in the tide pools. You are urchin, anemone,
sea star, mollusk, limpet, barnacle. You are algae, mussel,
and sponge, soaking in the beauty and wonder
and sharing it with us. The waters rise, and you cling
to the granite, to our conscience, our regret.
And despite altered terrain, the silenced season, it lulls us
to read what you left in your wake, protector of prairie
and ocean edge. How small a part we are in what there is.
How we should discriminate when we blanket earth and sea
with ourselves. To think it could still be as you say, the chain.

Artist 24: Entry 3

Ida B. Wells, 2019

Medium: Chiaroscuro woodcut

Size: 12 x 16”

Description:

This print is part of an ongoing series of portraits of women in history who have had an impact on our world, many of whom are not as widely known as their achievements merit.  My impetus for starting this project began four years ago with the Brett Kavanaugh hearings, and my disillusionment with our political climate.  By dedicating their lives to a vision for a better world, these women demonstrate hope. That is what this series is about for me.  Each of the portraits in the series is accompanied by a poem written by a woman poet. If possible, in the exhibit, I would like to include the poem with its partner portrait.

Special Installation Needs:

No special instructions, magnets on wall

Display Statement:

Ida B. Wells was born in to slavery, and freed by the Emancipation Proclamation. At the age of 16 she lost both her parents and brother to yellow fever.  She went on to become a journalist, educator, suffragist and leader in the civil rights movement, and was a founding member of the NAACP.  Her brave public focus on lynching and other injustices against people of color had a tremendous impact.  Her work as a journalist and public speaker often put her in danger, but her fearless pursuit of justice persisted her whole life.

Poem by Rage Hezekiah:

IDA

Too many nooses snug

against black necks⎯

men limp & motionless, dark

pillars against horizon. You

took up the pen, staunch,

relentless, sounded the alarm

of injustice. Small in stature,

your voice boomed⎯

phrases from the pages

you wrote ignited fear,

white men threatened

by a black woman’s rage.

How quick the wildfire.

Unflinching, you tucked

pistol in skirt pocket,

gritted teeth, somehow

fearless after mobs

strung up your brothers,

burned your press⎯

gold flames, melted metal.

You fought as only a woman

can fight, thread of tenderness

pulled taut through every violence.

You conjured wings, saying

I would gather my race in my arms

& fly away with them.

Artist 25: Entry 1

Field Notes 1-4, 2022

Medium: drypoint, lithograph, relief, monotype

Size: 36” x 36”

Description:

This is a quartet of four prints in conversation.

Special Installation Needs:

None

Display Statement:

For me, the way that I work with the materials and processes of printmaking is analogous to how I sense the complexity and possibilities offered in the natural world. In “Field Notes 1-4,” the materials articulate a sense of how delicate and fleeting, lost and fragile, how structured and resilient this moment is, more than I could plan for or imagine. These images build by layering transparent papers, rolling and wiping plates, using both the front and back of the papers, making rubbings of seeds and grasses of the field, recording the absence of those marks by wearing through the paper, feeling into what is already gone or will be missing…birdsong, habitat, water.

Artist 25: Entry 2

Field Notes 1, 2022

Medium: drypoint + monotype

Size: 15” x 15”

Description:

This is the top left quadrant of the bigger piece titled Field Notes 1-4. If space doesn’t allow the whole quartet, this could be shown paired with another print from the quartet.

Special Installation Needs:

None

Display Statement:

For me, the way that I work with the materials and processes of printmaking is analogous to how I sense the complexity and possibilities offered in the natural world. In “Field Notes 1-4,” the materials articulate a sense of how delicate and fleeting, lost and fragile, how structured and resilient this moment is, more than I could plan for or imagine. These images build by layering transparent papers, rolling and wiping plates, using both the front and back of the papers, making rubbings of seeds and grasses of the field, recording the absence of those marks by wearing through the paper, feeling into what is already gone or will be missing…birdsong, habitat, water.

Artist 25: Entry 3

Field Notes 4, 2022

Medium: lithograph, relief, monotype

Size: 15” x 15”

Description:

This print is the lower right quadrant of the quartet of prints titled Field Notes 1-4. This print could be paired with another from the quartet, if space allows.

Special Installation Needs:

None

Display Statement:

For me, the way that I work with the materials and processes of printmaking is analogous to how I sense the complexity and possibilities offered in the natural world. In “Field Notes 1-4,” the materials articulate a sense of how delicate and fleeting, lost and fragile, how structured and resilient this moment is, more than I could plan for or imagine. These images build by layering transparent papers, rolling and wiping plates, using both the front and back of the papers, making rubbings of seeds and grasses of the field, recording the absence of those marks by wearing through the paper, feeling into what is already gone or will be missing…birdsong, habitat, water.

Artist 26: Entry 1

Positive Vibrations, 2022

Medium: artist book

Size: 8″ x 32″ when fully open

Description:

Artist book: 8 drypoint monoprints, artist handmade paper hinges, leporello accordion format 8″ x 32″ when fully open; accompanying monotype text banner, 2.5“ x 21.5“ when fully open; accompanying box 9.25“ x 9.25”

Special Installation Needs:

Needs table or pedestal.

Display Statement:

Inspired by a song I had heard in a recent workshop on art and racism at Zea Mays Printmaking, I re-immersed myself in the music of John and Alice Coltrane. I was suddenly struck by John’s simple remedy for times of crisis:

“One positive thought produces millions of positive vibrations.”

A single vibration provides the spark, vibrations abound, connecting, merging, bridging, and flowering; they ultimately produce the energy needed to build a new and better world. Without such positive human energy, technology will fail, nations will fall, and our children and children’s children will inherit a broken world. Yes, I believe another world is possible but only if positive vibrations underpin our endeavors.

Artist 27: Entry 1

Red Sea 12, 2018

Medium: Monotype with chine collé and pastel

Size: 20.5″ x 30” diptych with border

Description:

None

Special Installation Needs:

None

Display Statement:

While feeling creatively adrift and wondering what direction to take next, I became fascinated with a medieval upside-down map of seemingly impossible geography. In it I saw only lines—delicate, curving, changing course—dancing from page to page.

Discovering the map as an enigmatic abstraction sparked my interest in the concept of mapping and the absolute grace and beauty of line.

I wonder will we someday need a map of water; not a chart for navigation, but rather a diagram of its very essence, telling a mythological tale, a secret life of dark depths, and conveying a serene otherworldliness.

Artist 27: Entry 2

Map of Water 12, 2013

Medium: Monotype

Size: 22.5″ x 15”

Description:

None

Special Installation Needs:

None

Display Statement:

While feeling creatively adrift and wondering what direction to take next, I became fascinated with a medieval upside-down map of seemingly impossible geography. In it I saw only lines—delicate, curving, changing course—dancing from page to page.

Discovering the map as an enigmatic abstraction sparked my interest in the concept of mapping and the absolute grace and beauty of line.

I wonder will we someday need a map of water; not a chart for navigation, but rather a diagram of its very essence, telling a mythological tale, a secret life of dark depths, and conveying a serene otherworldliness.

Artist 27: Entry 3

Map of Water 1, 2011

Medium: Monotype

Size: 60″ x 66.5” on 5 full sheets

Description:

None

Special Installation Needs:

None

Display Statement:

While feeling creatively adrift and wondering what direction to take next, I became fascinated with a medieval upside-down map of seemingly impossible geography. In it I saw only lines—delicate, curving, changing course—dancing from page to page.

Discovering the map as an enigmatic abstraction sparked my interest in the concept of mapping and the absolute grace and beauty of line.

I wonder will we someday need a map of water; not a chart for navigation, but rather a diagram of its very essence, telling a mythological tale, a secret life of dark depths, and conveying a serene otherworldliness.

Artist 28: Entry 1

Late in the Day, 2021

Medium: photopolymer etching, chine colle

Size: 9.5” x 12.75”

Description:

None

Special Installation Needs:

magnets are fine

Display Statement:

I dream that our world of natural beauty survives; that some of it remains despite current environmental and political catastrophe. I find solace and delight in the landscape around me; the play of light and subtle transitions of color as the day passes; the ambiguities and gradations of what’s visible on the horizon and what’s not…

These inspire me and lift my sights. The beauty of clouds, sea, sky and dark woods should be enough to hold out for but, as Rebecca Solnit comments,

“If sorrow and beauty are all tied up together, then perhaps maturity brings with it…an aesthetic sense that partially redeems the losses time brings and finds beauty in the faraway.”

Artist 29: Entry 1

Marrow (black), 2022

Medium: Etching on Paper

Size: Etching (20” x 16”) Paper (26” x 22”)

Description:

Hard ground copperplate etching with black ink on Hahnemuhle.

Special Installation Needs:

None

Display Statement:

In my recent work I have been exploring the themes of connection and vulnerability. In the etchings that I am submitting, there is a chunk of land gliding towards the viewer. It is a cross section of earth with trees and other natural forms. Revealed beneath the surface are both natural and human made forms. I see these landscape cut aways as searching for the other puzzle pieces that might fit around them. To me they represent the vulnerability of being open and exposed and the hope of finding connection.

Artist 29: Entry 2

Marrow (blue), 2022

Medium: Etching on Paper

Size: Etching (20” x 16”) Paper (26” x 22”)

Description:

Hard ground copperplate etching with Prussian blue ink on Hahnemuhle.

Special Installation Needs:

None

Display Statement:

In my recent work I have been exploring the themes of connection and vulnerability. In the etchings that I am submitting, there is a chunk of land gliding towards the viewer. It is a cross section of earth with trees and other natural forms. Revealed beneath the surface are both natural and human made forms. I see these landscape cut aways as searching for the other puzzle pieces that might fit around them. To me they represent the vulnerability of being open and exposed and the hope of finding connection.

Artist 30: Entry 1

Open to Change I,II,III, July 2022

Medium: Monoprint

Size: Each print image size 4″ x 12″, each sheet size 6.25×15”

Description:

A series of three monoprints, created with chin colle, carved Sintra plate, rubber stamps and trace monotype, using Akua inks on Fabriano Rosapina.

Special Installation Needs:

None. Prints meant to be hung in a line, with about .5” space between each one, using magnet system.

Display Statement:

For Julie, In Memoriam

We die but our ideas live on, often reimagined, reinterpreted or taken to another level by new generations.

If we are open to it, art–and especially abstract art–may challenge us to imagine a world that does not yet exist, through which transformative progress is possible. These pieces are meant as a meditation on what this openness might feel like.

Artist 30: Entry 2

CoolClear I,II,III, March-April 2022

Medium: Monotype

Size: Each print image size 8×8”, each sheet size 11×14”

Description:

A series of three monoprints, created with a number of carved Sintra plates, and cut stencils, using Akua inks on Fabriano Rosapina.

Special Installation Needs:

None. Prints meant to be hung in a line, with about .5″ space between each one, using magnet system.

Display Statement:

Water is the basis of life. Everything depends on it. A future without clean, accessible water is impossible, and yet climate change and pollution have caused a global crisis in its accessibility. This triptych of prints seeks to express a joyful vision of an abundant, healthy aquatic future on Earth through a visualization of its visceral sensations.

Artist 31: Entry 1

Changing Views, 2022

Medium: Linocut, monotype, collage

Size: 30” x 40”

Description:

Linocuts, monotypes collaged on Lenox

Special Installation Needs:

Might need several magnets to hang because of size and weight.

Display Statement:

Changing Views

I always look forward to seeing the bare trees covered with leaves. However, the growing leaves slowly the mask the shape of the hills in the distance. The overlapping leaf monotypes in this artwork were created from dying species of trees. They are starting to cover up linocut images produced from a human imagination. Let us hope that the loss of these ash and chestnut trees may allow for their replacements to be even more beautiful in ways that we cannot imagine.

Artist 32: Entry 1

Peaceful, 7/21/2022

Medium: Intaglio, Dry Point and Step Aquatint

Size: 18”x24”

Description:

Everything is connected.  The world I see is one in which we understand and act on the basis that everything is connected. When our decision making is based on connectivity, we thrive together. When we forget to stay connected, we create chaos. I choose to portray landscapes as they speak to connectivity—the trees talk and assist each other, water cleans itself by flowing, rocks form, and healing and life continues.

Special Installation Needs:

None

Display Statement:

Everything is connected.  The world I see is one in which we understand and act on the basis that everything is connected. When our decision making is based on connectivity, we thrive together. When we forget to stay connected, we create chaos. I choose to portray landscapes as they speak to connectivity—the trees talk and assist each other, water cleans itself by flowing, rocks form, and healing and life continues.

Artist 33: Entry 1

Ubuntu no. 1, 2022

Medium: Mono Lithograph and thread

Size: 18” x 12”

Description:

The colonial settlers in Plimoth lived for twelve years in Leiden, Netherlands before they set sail on the Mayflower in 1620. In 2022, the world’s people must use everything of which we are capable to address the centuries of injustice and white supremacy that have led us to where we now are. Restorative justice is one of the principles of Ubuntu, a sub-Saharan African world view.

The image of Leiden is from a period map. The image of the Mayflower is from an embroidery my mother sewed in the early 1940s.

Special Installation Needs:

If the three pieces I am submitting are all accepted I would like them to be installed like “an ocean wave”. They should be installed 3.5 inches apart. Numbers 1 and 3 should be at the same wall height and Number 2 should be 3.5 lower than no. 1 and 3.

Display Statement:

I am looking back to the lives of the English settlers who sailed to North America and examining how their experiences have shaped the world we are in today. I have hope that through diligence by many we can shape a more just world. I am being guided in these pieces by the principles of Ubuntu, a sub-Saharan African world view.

“Injustice anywhere is a threat to justice everywhere”, Reverend Dr. Martin Luther King Jr, 1963.

“A person is a person through other persons”, Desmond Tutu, 2008

Artist 33: Entry 2

Ubuntu no. 2, 2022

Medium: Mono lithograph, collagraph, rubbing and thread

Size: 17” x 10”

Description:

The colonial settlers in Plimoth lived for twelve years in Leiden, Netherlands before they set sail on the Mayflower in 1620. In 2022, the world’s people must use everything of which we are capable to address the centuries of injustice and white supremacy that have led us to where we are today. Nonviolence and love are two principles of Ubuntu, a sub-Saharan African world view. The image of Leiden is from a period map. The collagraph represents ocean water and the compass rose is a rubbing derived from an embroidery of the Mayflower which my mother created in the early 1940s.

Special Installation Needs:

If the three pieces I am submitting are all accepted I would like them to be installed like “an ocean wave”. They should be installed 3.5 inches apart. Numbers 1 and 3 should be at the same wall height and Number 2 should be 3.5 lower than no. 1 and 3.

Display Statement:

I am looking back to the lives of the English settlers who sailed to North America and examining how their experiences have shaped the world we are in today. I have hope that through diligence by many we can shape a more just world. I am being guided in these pieces by the principles of Ubuntu, a sub-Saharan African world view.

“Injustice anywhere is a threat to justice everywhere”, Reverend Dr. Martin Luther King Jr, 1963.

“A person is a person through other persons”, Desmond Tutu, 2008

Artist 33: Entry 3

Ubuntu no. 3, 2022

Medium: Monotype with collagraph, rubbing, relief and thread

Size: 18” x 12”

Description:

It is up to every responsible person to create a kind and just world. That world will not come in our lifetime but change can happen. Compromise and change are two principles of Ubuntu, a sub-Saharan African world view.  The compass rose is a rubbing from the embroidery of the Mayflower my mother created in the 1940s. We all have journeys. The muskets in the lower left corner represent the violence of the last 400 years and the history of white supremacy.

Special Installation Needs:

If the three pieces I am submitting are all accepted I would like them to be installed like “an ocean wave”. They should be installed 3.5 inches apart. Numbers 1 and 3 should be at the same wall height and Number 2 should be 3.5 lower than no. 1 and 3.

Display Statement:

I am looking back to the lives of the English settlers who sailed to North America and examining how clearly their experiences have shaped the world we are in today. I have hope that through diligence by many we can shape a more just world. I am being guided in these pieces by the principles of Ubuntu, a sub-Saharan African world view.

“Injustice anywhere is a threat to justice everywhere”, Reverend Dr. Martin Luther King Jr, 1963.

“A person is a person through other persons”, Desmond Tutu, 2008

Artist 34: Entry 1

Into the Woods, 2022

Medium: Drypoint monotype

Description:

Drypoint printed over monotype image. Word image printed from carved Sintra plate.

Special Installation Needs:

single print on paper

Display Statement:

Another World Is Possible:

We have been learning that the forest is full of wisdom and knowledge where individual trees and other organisms are supportive of one another. If we were to embrace and utilize these examples of nature at work, within forest communities, that knowledge could become a way for realigning entire interdependent, supportive human communities. They would become places where wisdom, shared knowledge and opportunities were used for the benefit of entire diverse communities. An example of wisdom and cooperation exists in the woods around our house. On top of a decaying stump, a young birch sapling has been growing, its roots climbing across and down the stump to reach the earth.

Artist 34: Entry 2

Cave, 1993

Medium: Sculpture

Size: 30” x 20” x 9”

Description:

Tulip poplar bark, galvanized metal, wire, apple twigs, waxed linen thread, cotter pins

Special Installation Needs:

Requires a pedestal and means of securing in place (provided by the artist)

Display Statement:

Another World Is Possible:

What if we had a fuller awareness of the wisdom of the forest by showcasing its beauty? History shows us that the forest has been honored for its beauty and usefulness. Can we recognize more fully its deep interconnectedness and our understanding of the wisdom through our imaginations and creativity? This bark construction is meant to show that beauty. The bark is tulip poplar rescued from a forested area that was to be excavated for building homes. Many of us feel a kinship with trees, but few focus on a tree’s bark. But turned with the inside on the outside, there is an aliveness and surprising beauty. Beauty and wisdom become joined like print and sculpture.

Artist 35: Entry 1

An Atmosphere of Water and Dust; #3, 2022

Medium: photopolymer intaglio on Xuan paper

Size: 15.5” x 20”

Description:

Deep brown and reddish ink, with some blues in deep space, of duckweed stars assembled like the milky way or a dense constellation.  A few weeds in the right corner.

Special Installation Needs:

None

Display Statement:

This work originated in the moment, in the tangible here and now, with photos taken while I scull on the river. I don’t photograph the panoramic landscape; I photograph water and the things that exist in it and on it, that change from moment to moment with the river’s flow and climatic change. From those raw snapshots, I built a space that isn’t just the thing photographed, but is earth and sky and universe—not one thing but many things at once. That’s where, for me, another world is located. Not a world created by faith or hope, but one that’s alive in the multiplicity of its meanings and possibilities, existing simultaneously in the same image, in the same moment.

Artist 35: Entry 2

An Atmosphere of Water and Dust; #8, 2022

Medium: photopolymer intaglio on Pescia paper

Size: 15” x 15.5”

Description:

Greenish ink on cream paper. Soft, deep spaces with a few bubbles and lines.

Special Installation Needs:

None

Display Statement:

This work originated in the moment, in the tangible here and now, with photos taken while I scull on the river. I don’t photograph the panoramic landscape; I photograph water and the things that exist in it and on it, that change from moment to moment with the river’s flow and climatic change. From those raw snapshots, I built a space that isn’t just the thing photographed, but is earth and sky and universe—not one thing but many things at once. That’s where, for me, another world is located. Not a world created by faith or hope, but one that’s alive in the multiplicity of its meanings and possibilities, existing simultaneously in the same image, in the same moment.

Artist 35: Entry 3

An Atmosphere of Water and Dust; #16, 2022

Medium: photopolymer intaglio on oiled Xuan paper with a bright white Rives BFK backing sheet

Size: 34.5” x 30”

Description:

The thin paper of this print has been oiled so that it will be very translucent. It hangs loosely in front of a bright white paper so that light seems to glow from within the image. That is hard to tell in the photographs of the work. There image has a loose division into four equal parts.

Special Installation Needs:

Print will hang loosely in front of a bright white paper. Magnets will hold both the white paper and the top of the thin paper of the print.

Display Statement:

This work originated in the moment, in the tangible here and now, with photos taken while I scull on the river. I don’t photograph the panoramic landscape; I photograph water and the things that exist in it and on it, that change from moment to moment with the river’s flow and climatic change. From those raw snapshots, I built a space that isn’t just the thing photographed, but is earth and sky and universe—not one thing but many things at once. That’s where, for me, another world is located. Not a world created by faith or hope, but one that’s alive in the multiplicity of its meanings and possibilities, existing simultaneously in the same image, in the same moment.

Artist 36: Entry 1

DIYC #63

Medium: Monotype, BFK,and Silk Organza

Size: 19 x 17 inches

Description:

Torn monotype on BFK with Silk Organza

Special Installation Needs:

None

Display Statement:

We are all influenced by our personal lives and what we read. I have recently read After by Bruce Grayson, M.D. and The Martian Chronicles by Ray Bradbury. After deals with Near Death Experiences and what they reveal about life and beyond. The author describes a common DNE experience of a journey through a dark tunnel and emerging into a very bright place. The Martian Chronicles, written in 1946, is a collection of stories about life on Mars. The author describes the journey through the darkness of space, landing on Mars, and emerging into the sunlight. Both books address going from darkness into light with destinations that are not of this Earth. Escapism or a future reality?

Artist 37: Entry 1

Hope, 7/22/2022

Medium: Woodcut & Collage

Size: 12”h x 15”w

Description:

Woodcut print & collage using Akua ink on BFK Rives paper

Special Installation Needs:

None

Display Statement:

My heart is heavy with the news of the day: viruses, soaring heat, senseless killings, rights abolished. It is challenging to imagine a bright future. Yet, I do. I believe in the resilience of mankind and our ability to unite to overcome the hurdles for the sake of our planet and humanity’s soul.

Hope reflects this belief – the light pushing through to a better future. Viewers may also see rising seas or landscapes on fire.  All perspectives are welcome, and required, as we unite to build a world that only we can imagine.

Artist 37: Entry 2

Opposition, 7/22/2022

Medium: Woodcut & Collage

Size: 12”h x 15”w

Description:

Woodcut print & collage using Akua ink on BFK Rives paper

Special Installation Needs:

None

Display Statement:

My heart is heavy with the news of the day: viruses, soaring heat, senseless killings, rights abolished. It is challenging to imagine a bright future. Yet, I do. I believe in the resilience of mankind and our ability to unite to overcome the hurdles for the sake of our planet and humanity’s soul.

Opposition – represents my conviction that a better future is possible but displays an awareness of the forces that oppose its’ creation.

Artist 38: Entry 1

In Balance, 2022

Medium: Watercolor monotype

Size: 22” x 30”

Description:

In this large watercolor monotype, a young rhinoceros balances a bird egg, butterflyfish, eggplant, community organizer & brain coral on her horns.

Special Installation Needs:

None

Display Statement:

Everything seems out of whack: sweltering heat, school shootings, burning forests, empty oceans, rabid politics, missile attacks on malls, accelerating extinctions, and much more harm and destruction. How can we live in balance together with all the other beings on this amazing earth? This question challenges me–and sometimes my response is a wishful image wondering what that delicate balance could look like.

Artist 39: Entry 1

Blanket for the Future, 2022

Medium: natural dyed cottons, repurposed pillow case, ecoprint with marigold, coreopsis and ironSize:

Size: 14”x 24”

Description:

This piece is made with ecoprinted cotton made from flowers in my yard. It is sewn with sewing machine. The lace edges are delicate and from an old worn pillowcase.

Special Installation Needs:

This piece may be floppy if it is hung with just 4 magnets, but I will provide a stiff backing if needed. Using three magnets on each side instead of just two, one on each corner, may remedy this problem. This piece is a companion to my other submission and ideally they would be hung as a diptych if both are accepted.

Display Statement:

This blanket is a prototype for a physical or conceptual future blanket that embody the dream and hope that I am holding within me in the face of the overwhelming future. I am facing devastating loss and overwhelming joy in the same breath, this fragile hope is something I have only very recently found. This dream is about Queer communities and support systems, and about queer love. The eco-print echoes galaxies which suggest possibilities beyond our time or knowing. Seeing the fabric slowly stain with dye as it is heated with the flowers trapped inside makes me think of the support that is hidden, waiting not just for crises but for hands reaching out for connection.

Artist 39: Entry 2

Blanket for the Past, 2022

Medium: Screenprinted cotton with mordant painting, embroidery and repurposed pillow case

Size: 14”x 24”

Description:

This artwork comprises of two cotton pieces hand-sewn together with embroidery floss. It is screen printed as well as painted with an iron-based mordant that was dipped in natural willow leaf dye.

Special Installation Needs:

This piece may be floppy if it is hung with just 4 magnets, but I will provide a stiff backing if needed. Using three magnets on each side instead of just two may remedy this problem. This piece is a companion to my other submission and ideally they would be hung as a diptych if both are accepted.

Display Statement:

I imagine this as a quieting, comforting blanket that maps grief and change in a soft, reassuring way. A blanket that covers the past, deadening sounds while the echoes slowly appear on the surface. The idea of a Blanket for the Past is my attempt to align my art with Transformational Justice. The blanket this represents, marked with symbols of rain or tears, could be used to beat out a fire, but also to keep someone warm. It represents accountability and flexibility and the opposite of militarist ‘cancel culture’.

Artist 40: Entry 1

Reclamation of the Fields, 2021

Medium: Monotype on paper

Size: 24” x18” image size (30×22 paper size)

Description:

Two red fox kits sleep in a burrow beneath striations of earth in ochres, burnt Siennas, umbers and greens, sheltered from a storm (streaked, grey-purple sky) raging aboveground. Vertical ‘portrait’ orientation.

Special Installation Needs:

Single print on paper. Paper size 22×30

Display Statement:

Nature reasserts itself and gradually reclaims the earth in a post-humanity world. Here, a field reverts to wilderness and again shelters wild creatures, absent the devastating effects of human industrialization, agriculture and rampant consumption.

Artist 40: Entry 2

Reclamation of the Forests, 2022

Medium: Drypoint, carborundum and botanical-elements monoprint on paper

Size: 17.75 x 12 image size (22×15 paper size)

Description:

Interior Forest scene in lavender-blues (canopy & trunks) and yellow-greens (forest floor). Vertical ‘portrait’ orientation.

Special Installation Needs:

Single print on paper. Paper size 22×15

Display Statement:

Nature reasserts itself and gradually reclaims the earth in a post-humanity world. Here, previously manicured woods revert to thick and lush old-growth forest free of human ‘management,’ deforestation and habitat destruction.

Artist 40: Entry 3

Reclamation of the Oceans, 2019

Medium: Drypoint and carborundum monoprint on paper

Size: 12×16 image size (22×19 paper size)

Description:

Soft undersea scene with green-grey water, vague fish shapes in lavender disappearing into the distance, soft green and lavender corals on the ocean floor. Landscape orientation.

Special Installation Needs:

Single print on paper

Display Statement:

Nature reasserts itself and gradually reclaims the earth in a post-humanity world. Here, a coral reef begins to re-establish itself on an ocean floor that had been scraped and trawled bare, while fish populations decimated by commercial fishing begin to repopulate.

Artist 41: Entry 1

External Forces (diptych), June 2022

Medium: Collage, woodcut, watercolor, & colored pencil on wood panel

Size: 12” x 24”

Description:

Living in Western Mass has deeply influenced how I view nature and domestic life interacting. External Forces is an exploration of those two realities. Their interaction is a core component of how I think about the future of our world. The unpredictability of nature, the dream of domestic life – both of these worlds have soft, intimate, and romantic moments, both have sharp and cruel moments. This piece attempts to emote this intense push and pull – to feel both harsh and playful. Whichever world we experience next – near or far, in this galaxy or another, will always have some level of unfulfilled promise, of sharpness when we expect softness. It is that unfulfilled promise that is the push and pull that I’m looking for in this piece. What lessons from this can we bring to those that live in the next world?

Special Installation Needs:

please install diptych in order as pictured, hanging accessories attached on back

Display Statement:

Lucy Mitchell is living and working in Western Massachusetts. Her work explores the intersections of nature and domesticity.

Artist 41: Entry 2

Note to my Former Self, May 2022

Medium: Reduction Woodcut

Size: 15” x 15”

Description:

Note to my Former Self is a piece that explores the intersection of domestic life, nature, and fatalism. The use of symbols, contrasting colors, and text strive to capture a feeling of collective hope that within the darkness there is a playful light that peaks through. This light is what keeps each of us going. What is an unfulfilled promise today is a fulfilled promise in the next world. A dream of a world that is beautiful in new ways. The text hidden within the piece states “show me who you are, I’ll love you… and it will feel like paradise”. Today, this promise is fulfilled even though it wasn’t in the previous world I lived in. The darkness and light that may feel unbalanced in the present will ebb and flow into the next world and what we find there will be awe inspiring.

Special Installation Needs:

None

Display Statement:

Lucy Mitchell is living and working in Western Massachusetts. Her work explores the intersections of nature and domesticity.

Artist 42: Entry 1

Criss- Cross, February 2022

Medium: Dimensional Monotype Collage

Size: 38” x 50”

Description:

Criss-Cross is a dimensional monotype collage that takes a cue from the Thelonius Monk composition of the same name. Criss-Cross was produced by combining pieces from two discarded/rejected monotypes, one from artist Dave Zinni, and the other from myself. The new reconfigured artwork utilizes separate elements working together in unity, representing collaboration,  integration, inspiration, and, most importantly, rebirth.

Special Installation Needs:

None

Display Statement:

‘Criss Cross’ is a dimensional monotype collage that takes a cue from the Thelonius Monk composition of the same name. ‘Criss Cross’ was produced by combining pieces from two discarded/rejected monotypes, one from artist Dave Zinni, and the other from myself. The new reconfigured artwork utilizes separate elements working together in unity, representing collaboration,  integration, inspiration, and, most importantly, rebirth.

Artist 42: Entry 2

Until Morning Comes, July 2022

Medium: Monotype

Size: 22” x 30”

Description:

‘Until Morning Comes’ is a monotype that speaks of enduring the present darkness guided by the implied hope the title suggests. As with all darkness, there are faint and fuzzy distortions of things we think we see or know that we must navigate.

Special Installation Needs:

None

Display Statement:

‘Until Morning Comes’ is a monotype that speaks of enduring the present darkness guided by the implied hope the title suggests. As with all darkness, there are faint and fuzzy distortions of things we think we see or know that we must navigate.

Artist 42: Entry 3

Pink Moon, July 2022

Medium: Monotype

Size: 22” x 30”

Description:

‘Pink Moon’ is the first full moon of spring and reflects the beauty of the early spring bloom it illuminates. Named after one of the first spring flowers in the eastern US, this artwork speaks of rebirth, re-growth, and hope after a period of cold and darkness.

Special Installation Needs:

None

Display Statement:

‘Pink Moon’ is the first full moon of spring and reflects the beauty of the early spring bloom it illuminates. Named after one of the first spring flowers in the eastern US, this artwork speaks of rebirth, re-growth, and hope after a period of cold and darkness.

Artist 43: Entry 1

L.O.L., 2021

Medium: Tetra Pak drypoint on toilet paper wrappers

Size: 12”x16”

Description:

A stack of prints on used toilet paper wrappers pinned to the wall. Smiling poop emojis float around a circle that says “we shit in our water”

Special Installation Needs:

None

Display Statement:

We could treat water a little better.

Artist 43: Entry 2

The grownups Check-In, 2021

Medium: Tetra-Pak Drypoint on toilet paper wrappers

Size: 25”x16”

Description:

None

Special Installation Needs:

None

Display Statement:

None

Artist 43: Entry 3

A heroic effort but individualism won’t stop this., 2022

Medium: Braided Toilet paper wrappers, Tetra Pak print on fabric

Size: 23” diameter circle

Description:

The fabric used in this piece is from old sheer curtains that I had been using as wiping fabric for my drypoint prints. When I cleaned them to reuse them I really liked the surface design and decided I wanted to print on them.

Special Installation Needs:

I can install this

Display Statement:

None

Artist 44: Entry 1

Passage of Time: a Triptych, 2022

Medium: Mokuhanga woodblock monoprint, natural earth and mineral pigments in starch paste, handmade papers, chine colle

Size: 7.75” x 15”

Description:

This is a woodblock monoprint in triptych format. It is accomplished using Mokuhanga printing with natural earth and mineral pigments on hand made and machine made papers that are joined using chine colle methods.

Special Installation Needs:

To be hung using magnets

Display Statement:

“We are, you and I,” said the print, “centers of expression for the primal will to good that eternally creates and sustains the Universe. Think : an infinite number of angels dancing on the head of a pin. All joined in this together, we pass through time and beyond. Underlined for emphasis.”

Artist 44: Entry 2

The Yellow Shaft, 1998 amended 2022

Medium: Artists book with custom box; xerography; silk cover with laminated inlay; Arches Textwove and Asian papers; hot stamp printing

Size: 11” x 4.5” (closed); 11” x 64” (fully opened) 11” x 45” (display size)

Description:

This is an accordion book accomplished using xerography. The actual objects that make up the imagery were laid directly on the glass of the photocopy machine. Consequently the “artifacts” of the process become an integral part of the imagery. Three 11” x 17” sheets plus end sheets are joined to arrive at the accordion format. The cover of the book is black slubbed silk with a laminated paper inlay. The custom box is made of handmade Asian paper that retains the impressions of the coarse screen on which it was pulled. The title of the book is hot stamped onto the box. This visually joins the two halves of the box and, as the box is opened, the actual yellow shaft on the book’s cover reveals itself making for a presentation that is simultaneously visual and verbal.

Special Installation Needs:

The book can be laid horizontally on a long narrow pedestal or shelf and be partially opened out so the imagery is available for viewing (as shown in the images). Space requirement would be 12” in depth by 45” in length. If the work is chosen, and if necessary, I could provide a pedestal though I am fairly sure A.P.E. Gallery has a supply.

Display Statement:

The elements of physical life – animal, vegetal, mineral – emerge from the infinite black depths of the COSMOS, the container of all of LIFE both physical and metaphysical. A separation of the concrete PHYSICAL from the more ephemeral and underlying METAPHYSICAL contributes to the chaos and mayhem, injustice and even evil of our current age. This book is a visual exploration of the integrity and cohesion that could arise when the HUMAN CONSCIOUSNESS will succeed at rejoining these two aspects of LIFE : PHYSICAL + METAPHYSICAL (or spiritual, if you will) = WHOLENESS.

Artist 45: Entry 1

Lymphatic/Day Lily, 2022

Medium: Lithograph

Size: 14.5” x 18”

Description:

None

Special Installation Needs:

None

Display Statement:

My work is based on a historical theory called the Doctrine of Signatures. This idea suggests that there is an inherent sense of order in the world and that we can experience and see this order and inform ourselves. The aspect of this theory that my work addresses is the use of plants and medicine, that plants can inform us how to use them as they reflect our bodies. This ability might be reflected in observing the shape or color of the plant, where it grows, or its inherent heat to inform its properties. This idea of healing exists in knowledge of plants from many cultures and times in history. I am interested in this theory as it reveals an inherent structure to understand nature and our experiences, it could be from a spiritual standpoint or structural organization of nature.  While this is not a theory supported by science, it is a theory of observation and I believe holds cultural value and wisdom. Day Lily/Lymphatic visualizes harmony and growth in the root structure, this work while exaggerated from the actual appearance of the plant also has a spiritual and harmonious quality.

Artist 45: Entry 2

Lobelia Inflata, 2022

Medium: Lithograph

Size: 14.5” x 18.5”

Description:

None

Special Installation Needs:

None

Display Statement:

My work is based on a historical theory called the Doctrine of Signatures. This idea suggests that there is an inherent sense of order in the world and that we can experience and see this order and inform ourselves. The aspect of this theory that my work addresses is the use of plants and medicine, that plants can inform us how to use them as they reflect our bodies. This ability might be reflected in observing the shape or color of the plant, where it grows, or its inherent heat to inform its properties. This idea of healing exists in knowledge of plants from many cultures and times in history. I am interested in this theory as it reveals an inherent structure to understand nature and our experiences, it could be from a spiritual standpoint or structural organization of nature.  While this is not a theory supported by science, it is a theory of observation and I believe holds cultural value and wisdom. Lobelia Inflata/Breathe visualizes the changing behavior of the flower and pods.

Artist 46: Entry 1

Clarion Call 1, 2022

Medium: photopolymer intaglio

Size: 16” x 26”

Description:

This series of prints began a digital scans of embossed prints and drawings.  They were layered and manipulated in Photoshop then exposed onto photopolymer plates.  Each plate was inked up and printed on the same piece of paper, layering color and images.

Special Installation Needs:

No special needs, can be hung with magnets.

If more than one from the 3 entries is selected, they can be hung in a column, one stacked above the other.

Display Statement:

Another world is not only possible, it’s inevitable. Young people know this and are calling out for immediate action. They are the ones who will face the worst outcomes of climate change, and they are the ones who need to be leading the solution. The boomer generation has failed them. It’s time to hear their call and support their urgent plea for change.

Artist 46: Entry 2

Storm 1, 2022

Medium: photopolymer intaglio

Size: 16” x 26”

Description:

This series of prints began a digital scans of embossed prints and drawings. They were layered and manipulated in Photoshop then exposed onto photopolymer plates. Each plate was inked up and printed on the same piece of paper, layering color and images.

Special Installation Needs:

No special needs, can be hung with magnets.

If more than one from the 3 entries is selected, they can be hung in a column, one stacked above the other.

Display Statement:

We are already experiencing the profound effects of global warming – stronger storms, longer droughts, melting icecaps. On our current path these extreme weather experiences will only increase. Are we prepared to live in this new reality?

Artist 46: Entry 3

Storm 2, 2022

Medium: photopolymer intaglio

Size: 16” x 26”

Description:

This series of prints began a digital scans of embossed prints and drawings. They were layered and manipulated in Photoshop then exposed onto photopolymer plates. Each plate was inked up and printed on the same piece of paper, layering color and images.

Special Installation Needs:

No special needs, can be hung with magnets.

If more than one from the 3 entries is selected, they can be hung in a column, one stacked above the other.

Display Statement:

Will humans fade away as the earth becomes a more extreme habitat? Are we sowing the seeds of our own extinction?

Artist 47: Entry 1

Flora Caeruleum, 2019

Medium: Intaglio, hand coloured with watercolour, brass pin.

Size: 11 x 15 inches

Description:

The two printed paper components complete the image; the top circular paper shape (Spit bite etching on copper) is affixed in place over top of the larger paper image using a brass pin. This allows the circular piece to spin; a cut “window” in this piece, when rotated reveals four imagined plants of the future.

Special Installation Needs: none

Display Statement:

How will our indigenous plants will be affected by the effects of climate change? What do scientists project these plants will look like? These questions led me to some dystopian view points, which I found not necessarily reflective of my personal point of view. In making plant studies for this portfolio print I found myself taking a fanciful and at times Dr. Suessian approach to depicting plants, while keeping in mind some scientific concepts around climate change. It is projected that plants will have less ground water to tap into. I began to think about how plants might look as they evolve and adapt to an arid climate and how they may develop beneficial, symbiotic relationships with insects and small animal/bird life.

While thinking forward, I also was looking back at depictions of vegetation art historically. The medieval artwork by artist Giovani di Paolo caught my interest. Inspiration for my print Flora Caeruleum came from di Paolo’s painting entitled “The Creation and Expulsion From Paradise“ (c.1445). Within this work, I was drawn in by the abstracted space created by concentric circles surrounding the earth, a depiction of the understanding of the planets from that time. Carried by a chorus of Cherubs, God points the direction from this heavenly garden through this celestial portal. This downward gesture is begun with God’s hand penetrating the outer circle – the winged and naked form of the Angel continues this movement as he reaches toward Adam and Eve – a harbinger for their fight from the lush dream-world surrounding them.

In Flora Caeruleum, I employed this device of concentric circles. Aside from the tonal rendering of the circles, a direct reference to planets in “The Creation and Expulsion From Paradise“ is my hand tinted use of colour red (symbolic of the sun). My hand is large, overreaching through concentric circles to the center which depicts a night sky or The Universe. Between my thumb and forefinger I hold a central pin or “star”. My gesture is upward, through this portal into a celestial sky. My thumb and finger crate another opening through which I depict Flora Caeruleum. Completing this gesture, the celestial circle turns to reveal four blue imaginary plants this viewfinder – are these “blue-prints” of the future? The ultramarine blue also references the colour of the outer ring in di Paolo’s painting, the time-worn golden signs of the Zodiac around the circle are barely distinguishable against the brilliant blue. I imagined four Flora with resilient and adaptive characteristics, able to tolerate drought-like or dry conditions, as well as intensely short, rainy periods: scrub-like plants or smaller trees, with concentric or tightly growing succulent-like leaves, thorns adorn
these surfaces along its edge or forming a thin prickly skin across its broad surface; rough fiber and craggy bark surrounds the plants trunk; smooth, branching easily rooting plants, with insect attracting pollen emitted from its delicate flowers; plants offering food and shelter for insects and small animals, while the animals assist the plants in their proliferation and survival.